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Bryan's    dictionav^v 

of   painters    and  MM 

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BRYAN'S    DICTIONARY 


OF 


PAINTERS   AND    ENGRAVERS 


IN   FIVE   VOLUMES 


GEORGE    BELL  AND    SONS 

LONDON  :  PORTUGAL  STREET,  W.C. 
CAMBRIDGE  :  DEIGHTON,  BELL  &  CO. 
NEW  YORK:  THE  MACMILLAN  CO. 
BOUliAV  :     A.     H.     WHEELER     &     CO. 


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■  y/n/i   /^ir  p  run /ill //'/•!/    J  ce/ifirf//'  a/i''l met    in    t//t:  .-Ui-i^'V 


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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    V.    S-Z 


THE     MACMILLAN     COMPANY 

LONDON  :    GEORGE  BELL  AND  SONS 
1905 

All  rights  reserved 


The  New  York  Public  Library 

Mid-M.-itih3uan  Library 

Art  Collection 

455  Fifth  Avenue 

New  York,  New  York  10016 


NOTE   TO  VOL.   V 

The  most  notable  nrticle  in  this  Volume  is  that  on  Titian  by  Mr.  Herbert  Cook.'- 
Early  in  importance  after  this  come  those  relating  to  four  eminent  artists  who  have 
recently  died — Watts,  by  his  old  friend,  Mr.  M.  H.  Spielmann ;  Whistler,  by  his 
recent  biographer,  Mr.  G.  E.  Dennis ;  Vereshchagin,  by  Mr.  H.  Rayment ;  and 
Frederick  Sandys,  by  the  Editor.  In  each  of  these  cases,  but  especially  with  regard 
to  Whistler,  an  ejfort  has  been  made  to  give  the  very  fullest  possible  account  of 
the  artist  and  his  works  that  the  limits  of  such  a  dictionary  as  this  permit.  The 
list  of  Whistler's  etchings  is  by  far  the  most  complete  that  has  yet  appeared. 

There  is  an  unusually  large  number  of  biographies  in  the  volume  relating 
to  old  Italian  masters  whose  lives  in  recent  years  have  been  reconstructed,  and 
whose  works  have  received  fresh  and  informing  attention. 

In  this  series  the  contributions  made  by  Miss  Olcott  as  to  Alvise,  Bartolommeo, 
and  Antonio  Vivai'ini  are  of  the  first  importance,  and  hardly  second  to  them  come 
the  articles  from  the  pen  of  Mr.  R.  H.  Hobart  Cust  on  the  three  artists  of  the 
Semino  family ;  the  three  of  the  Salimbeni ;  tlie  three  of  the  Tiepolo  family  ;  the 
Tressini;  the  two  artists  named  Spauzotto,  and  Pier  F.  Sacchi.  Miss  Olcott  has 
also  written  the  article  on  Cosimo  Tura,  and  those  on  the  two  Vanui,  Lippo  and 
Andrea. 

The  two  Signorelli  have  been  entrusted  to  Miss  Maud  Cruttwell,  who  has  lono- 
made  a  special  study  of  these  painters,  while  Mr.  Langton  Douglas  has  dealt  with 
that  mysterious  personality  whose  gi-eatness  has  so  recently  come  to  light,  the 
Sienese  artist  Sassetta.  Solario,  Salaino,  and  two  very  little-known  men,  Sebastian! 
and  Trino,  have  fallen  to  the  share  of  another  member  of  the  Cust  family,  Mrs. 
Wherry,  and  all  that  could  be  told  respecting  them  she  has  set  forth. 

It  has  been  a  particular  pleasure  to  enlist  in  the  service  of  the  Dictionary  the 
eminent  scholar,  Herr  Paul  Kristeller,  and  the  important  article  on  Squarcione  from 
his  pen  sets  to  rest,  finally,  it  is  hoped,  some  of  the  vain  imaginings  that  have 
been  current  as  to  this  so-called  founder  of  a  school. 

Other  Italian  artists  who  have  been  treated  afresh  in  the  light  of  new  discoveries 
are  Sassoferrato,  Bramantino,  Savoldo,  Tisio,  Torbido,  Varotari,  and  Vasari,  who  have 
been    described   by  Mr.  Brinton ;  Leonardo  da  Vinci,  who  has  been  taken  in  hand 

*  The  article  on  Titian  was,  by  an  oversight,  mentioned  in  the  Note  to  Vol.  IV.,  where  another 
article  written  by  Mr.  H.  Cook,  that  on  Previtali,  appeared. 


vi  NOTE  TO  VOL.  V. 

by  Mr.  McCurdy,  Leonardo's  most  recent  biographer ;  Spinelli  and  Tarchi,  who 
have  been  treated  of  by  Mr.  Strutt,  the  writer  of  the  book  on  Lippo  Lippi ;  the 
three  Vecelli  and  Vavassori,  who  have  received  most  careful  attention  from  Miss 
Jourdain ;  and  Perugino,  who,  as  a  matter  of  course,  has  fallen  to  the  share  of 
the  Editor. 

In  the  German  School  there  are  some  notable  articles,  especially  those  from 
the  pen  of  Mr.  Campbell  Dodgson  on  Schongauer,  Schoa,  the  three  artists  of  the 
name  of  Traut,  M.  Wolgemut,  and  the  two  of  the  name  of  Weiditz;  while  Miss 
Constance  Jocelyn  Ffoulkes  has  reviewed  a  long  list  of  the  more  unusual  and 
difEcult  of  the  little-known  German  and  Italian  artists ;  writing  articles  upon 
ScliUlein,  Van  Schwaz,  Scotti,  the  two  Seregno,  the  Master  of  Sigmaringen,  De 
Soye,  Van  Staren,  Stefano  de'  Fedeli,  Strigel,  Theodorich  of  Prague,  J.  Thufel, 
Tommaso  da  Modena,  the  two  artists  of  the  Da  Vaprio  family,  D.  J.  Vellert,  F.  de 
Vico,  G.  Vismara,  Hans  Weiditz,  the  two  Weinschroters,  the  Master  of  Werden, 
Oliuutz  von  Wenzel,  Conrad  Witz,  A.  and  J.  Woensam  von  Worms,  N.^  Wurmser, 
Zavattari,  and  P.  and  M.  Zoppo. 

The  veteran  writer,  Mr.  Weale,  who  from  the  very  first  has  had  charge  of  the 
section  dealing  with  the  old  Flemish  and  Dutch  artists,  has  contributed  an 
unusually  large  number  of  articles  to  this  volume,  writing  those  on  Saftleven,  Saive, 
Sanders,  Scorel,  Snellaert,  P.  and  H.  Steenwijck,  the  three  Stoeveres,  Susenier, 
Taulier,  Teylingen,  Tieffental,  Tillemanns,  Tol,  Uute  Wael,  Van  de  Capelle,  Van  der 
Goes,  Van  der  Hagen,  Van  der  Leepe,  the  five  Van  der  Meeres,  the  three  Van  der 
Neers,  Van  der  Pluym,  Van  der  Veen,  the  three  Van  der  Weydens,  Van  der  Woestine, 
Van't  Woudt,  Van  Voorst,  Van  Vucht,  Van  Wytevelde,  Verbuys,  Verwilt,  De  Vigilia, 
the  two  Volmaryns,  Vrelant,  J.  Van  Wijckersloot,  F.  Walschartz,  C.  Witz,  Zegelaar, 
Zutmann,  and  Zyl.  He  has  also  sent  in  many  small  corrections  of  dates  and  lists 
of  pictures,  acquired  during  his  unceasing  researches  into  the  history  of  Flemish 
Art. 

Of  the  more  strictly-called  Dutch  School  the  chief  article  is  a  very  important 
one  from  Mr.  Frank  Kinder  on  Vermeer,  containing  the  result  of  all  past  investiga- 
tion, and  correcting  the  errors  hitherto  adopted  as  to  this  wonderful  painter ;  while 
of  hardly  less  importance  are  the  articles  from  the  hand  of  Dr.  Martin  of  the  Hague, 
dealing  with  Jan  Steen,  the  four  artists  named  Teniers,  Ter  Borch,  and  Terbruggen. 
Mr.  Staley  has  contributed  the  article  on  Troost. 

Another  article  that  deserves  attention,  especially  as  it  is  one  of  the  few 
contributed  by  American  scholars,  is  the  one  on  Van  Audenaerde,  written  by  Dr. 
H.  Hochheimer. 

The  baffling  Cretan  who  settled  in  Spain  and  became  known  as  El  Greco  is  the 
subject  of  a  long  article  by  Mrs.  Jack  Henniker-Heaton,  who  has  translated  a  recent 
work  on  that  artist  written  in  Spanish  by  the  leading  artistic  scholar  of  Spain, 
Senor  Don  M.  B.  Cossio ;  while  the  head  of  the  Spanish  School,  the  great  Velazquez, 
has  fallen  to  the  care  of  Sir  Walter  Armstrong,  who  has  pruned  and  brought  up 
to  date  the  notice  he  contributed  to  an  earlier  edition  of  the  Dictionary. 

In  the  French  School  the  lives  of  Troyon  and  of  J.  A.,  F.  L.  J.,  and  L.  J. 
Watteau  are  the  work   of  Mr.  Staley. 


NOTE  TO   VOL.  V.  vii 

Of  modem  Italian  artists  the  one  deserving  most  attention  is  Segantini,  and 
his  biography  has  been  written  by  Mr.  Arthur  G.  Bell,  who  had  the  advantage  of 
personal  knowledge  of  that  gifted  man. 

In  the  Russian  School  mention  has  already  been  made  of  Vereshchagin,  but  the 
assistance  of  Mr.  Cazalet,  President  of  the  Anglo-Russian  Society,  must  not  be  over- 
looked in  some  corrections  made  by  him,  and  especially  with  regard  to.  the  memoir  of 
P.  A.  Sviedoniski  which  he  has  contributed.  That  of  Tatkeleff  is  the  work  of  the 
Editor,  who  has  contributed  several  other  memoirs  of  Russian  artists. 

American  artists  have  not  been  overlooked,  and  the  names  of  H.  Sargent,  W. 
Sartain,  James  Sharpies,  R.  Sharpies,  H.  Stone,  W.  O.  Stone,  A.  W.  Thompson, 
Edwin  L.  Weeks,  R.  W.  Weir,  S.  L.  Wenban,  A.  Wright,  and  E.  A.  Willis  represent 
this  rapidly-growing  body  of  workers. 

Turning  now  to  the  English  artists,  it  should  be  mentioned  that,  as  before,  Mr. 
Dibdin  has  contributed  the  stories  of  the  Liverpool  painters,  including  George 
Stubbs,  Tonge,  the  two  Townes,  John  and  J.  C.  Turmeau,  Walker,  Wallis,  Richard 
Wane,  and  the  various  painters  of  the  Williamson  family,  while  the  life  of  another 
Stubbs,  J.  H.  P.,  has  been  written  by  his  lineal  descendant,  Mr.  H.  Stubbs.  Four 
other  cases  in  which  the  assistance  of  lineal  descendants  has  been  secured,  are  those 
of  the  immortal  Turner,  where  the  information  as  to  the  family  of  the  artist  has 
been  sent  in  by  Mr.  C.  M.  W.  Turner,  the  memoir  of  Robert  Kent  Thomas,  which 
has  been  carefully  prepared  by  his  daughter,  Mrs.  Ewen,  while  in  the  case  of  the 
brothers  Alfred  and  Henry  Tidey,  the  narratives  have  been  compiled  by  their  niece, 
Miss  Levering,  and  Miss  Wallis  and  Mr.  G.  H.  Wallis  have  contributed  the  life  of 
George  Wallis. 

Many  of  the  Scotsmen  who  have  lately  passed  away  have  come  to  the  share  of 
Dr.  Laing,  of  Dundee,  who  has  prepared  biographies  of  W.  Bell  Scott,  John  Smart, 
Robert  Thorburn,  James  A.  Walker,  John  Wallace,  Robert  Bruce  Wallace,  John 
Watson,  J.  D.  Watson,  J.  W.  Whymper,  and  W.  J.  Yule,  as  well  as  taking  his  part  in 
writing  upon  some  of  the  smaller  English  and  foreign  artists  who  might  otherwise 
have  been  overlooked,  such  as  Saftleven,  Salmon,  Salmson,  Saunier,  Sayers,  Schaar- 
schmidt,  Schlesinger,  Slocombe,  Sorokin,  Stanton,  Steenwijck,  Stiickelberg,  Sundberg, 
Surat,  Tourrier,  De  Tours,  Unger,  Vallance,  M.  L.  Vermeer,  A^'idal,  Wattier,  H. 
Wilhelm,  Yon,  W.  J.  Yule,  and  Zalisker. 

F.  W.  Topham  and  Wimperis  have  been  the  work  of  Mr.  Henry  Walker,  who 
has  also  contributed  a  long  fresh  account  of  Ziegler  from  special  sources  hitherto 
untouched. 

Wright  of  Derby  and  J.  R.  Wilson  have  been  treated  of  by  Mr.  W.  Roberts,  the 
biographer  of  Romney ;  Gleeson  White,  the  well-beloved  designer,  has  been  contributed 
by  his  friend  Mr.  Dennis ;  Viscountess  Templetown  has  been  the  subject  of  a  notice 
from  Mrs.  Erskine,  to  which  Mr.  Campbell  Dodgson  has  added  some  special  informa- 
tion; Alfred  Stevens  is  the  subject  of  an  inspiring  article  from  the  pen  of  Mr.  Layard; 
Tissot  has  been  contributed  by  Mrs.  Arthur  Bell;  George  Wilson  by  his  recent 
biographer,  Mr.  J.  Baillie ;  Smetham  and  Lewis  Wingfield  by  the  Editor ;  and  Stott 
of  Oldham  and  H.  T.  Wells  have  been  supplied  by  Mr.  Malcolm  Bell,  who  is  the 
author  also  of  an  excellent  account  of  Daniel  Vierge. 


viii  NOTE  TO  VOL.   V. 

Turner  lias  received  attention  from  three  separate  authors  ;  Mr  Algernon  Graves, 
whose  knowledge  of  the  pictures  is  unrivalled,  having  gone  through  the  article  with 
great  care  and  made  many  additions  and  alterations,  while  Mr.  C.  M.  W.  Turner, 
already  mentioned,  has  contributed  the  family  section,  and  another  writer  some 
criticism. 

There  are  yet  very  many  of  the  English  artists  to  be  mentioned. 

The  medallists  have  not  been  overlooked,  as  their  fine  drawings  are  worthy  of 
notice,  and  the  volume  contains  notices  of  eight  members  of  the  eminent  family  of 
Wyon,  as  well  as  references  to  other  leading  men  in  the  same  profession,  such  as 
Tanner,  Simon  and  Snelling.  A  few  architects  have  been  hitherto  overlooked,  and  had 
to  be  referred  to  on  account  of  their  work  in  water-colour  or  oil ;  such  men  as  Sir 
G.  G.  Scott,  J.  D.  Sedding,  Smirke  and  Sir  John  Soane  appearing  in  this  volume ; 
while  the  writers  who  practised  art,  such  as  G.  A.  Sala,  Sir  George  Scharf,  Challoner 
Smith,  and  K  H.  Soden  Smith,  and  the  collectors,  as  John  Sheepshanks,  have  also 
received  notice. 

Amongst  the  miniaturists  the  accounts  of  Scouler  and  John  Smart  call  for  special 
attention,  while  amongst  English  artists  not  hitherto  properly  treated,  and  of  some- 
what lesser  moment,  it  may  be  well  to  direct  the  reader  to  the  memoirs  of  such  men 
as  William  Simpson,  and  the  Varleys,  the  work  of  Mr.  Martin  Hardie,  who  has 
also  contributed  many  other  articles,  including  those  on  C.  K.  Sharpe,  J.  Sibmacher, 
T.  Sibson,  A.  Sisley,  George  Smith,  W.  B.  Smith,  W.  C.  Smith,  G.  Steell,  James 
Stephenson,  J.  E.  Stevens,  A.  and  L.  Stocks,  F.  Tayler,  and  H.  J.  Townsend,  and  also 
to  the  notices  of  the  various  artists  of  the  Strutt  family,  of  the  Sharpies  family, 
of  J.  Wolff  the  animal  painter,  John  Syer,  Elijah  Walton,  and  others. 

The  rank  and  file  constitute  a  very  long  list,  far  longer  tlian  in  the  preceding 
volumes,  and  the  following  names  may  be  mentioned  : — 

J.  Saddler,  John  W.  Saddler,  Camille  Saglio,  G.  H.  Sagstatter,  H.  Sagstatter,  J.  E. 
Saintin,  —  Salisbury,  B.  N.  Salm,  L.  A.  Salmon,  H.  F.  Salmson,  G.  Saloman,  Anthony 
Salvin,  John  Sanders,  J.  A.  Sanders,  Francis  Sandford,  H.  Sandreuter,  F.  Sanguinetti, 
F.  Sargent,  John  Sartain,  E.  Sartori,  J.  F.  Sartorius,  J.  N.  Sartorius,  H.  Sass,  A. 
Sauerweid,  Noel  Saunier,  George  Saunders,  P.  E.  Sautai,  J.  L.  du  Sautoy,  —  Savill, 

F.  K  Say,  E.  J.  Schaller,  E.  de  Schampheleer,  W.  Schaw,  A.  F.  A.  Schenck,  H. 
Scherenburg,  K.  J.  N.  Scheuren,  F.  A.  H.  Schielvelbeine,  E.  J.  Schindler,  G.  Schirraer, 
Ivan  Schischkin,  A.  Schleich,  E.  Schleich,  F.  Schmalzigang,  M.  Schmidt,  P.  Schobelt, 
A.  Sclioenn,   Otto  Scholderer,   C.  von  Schraudolph,  A.  Schreyer,  W.  H.  Schroeder, 

G.  E.  Schuback,  F.  A.  Schubert,  E.  Scluiltz-Briesen,  L.  F.  Schiitzenberger,  T.  S. 
Schurawlew,  C.  Schweich,  A.  Schwendy,  Baron  von  Schwiter,  J.  J.  Scoles,  G.  G.  Scott, 
A.  Sege,  G.  Seidel,  A.  Seifert,  A.  Seitz,  C.  Sell,  L.  Sellmayr,  H.  C.  Selous,  G.  Semper, 
L.  P.  Sergent,  Sarah  Setchell,  G.  P.  Seurat,  J.  M.  Sevestre,  Charlotte  Sharpe,  Mary 
Anne  Sharpe,  F.  Sharpies,  James  Sharpies,  junr.,  George  Sheffield,  T.  H.  Shepherd, 
W.  Sheppard,  Chas.  Sherwin,  F.  S.  Shuranlew,  S.  Sidley,  A.  Siegert,  H.  Siemiradski, 
E.  Signol,  P.  C.  Si  mart,  W.  H.  Simmons,  N.  Simonsen,  F.  J.  Skill,  J.  Skippe,  E. 
Slingeneijer,  Sydney  Smirke,  J.  R.  Smith,  S.  C.  Smith,  Franz  Sodar,  J.  P.  Sodermark, 
C.  F.  Soerensen,  P.  P.  Sokolow,  H.  Sondermann,  G.  A.  Spangenberg,  L.  Spangenberg, 
C.  Springer,  F.  G.  Ssolnzeff,  A.  Stabli,  J.  P.  Stafford,  A.  Stannard,  A.  G.  Stannard, 


NOTE  TO  VOL  V.  ix 

Karl  Stauffer,  K.  K.  H.  Steffeck,  M.  Steiula,  Jas.  Stephanoff,  F.  M.  F.  Storelli,  Thos. 
Streatfield,  Jas.  Stuart,  L.  Stiirtz,  N.  Y.  Svertsclikof,  Chas.  Swaine,  S.  D.  Swarbreck 
James  R.  Swinton,  E.  Swoboda,  John  Syme,  A.  C.  L.  Tacke,  A.  Tahy,  \V.  H.  F.  Talbot 
L.  Tancini,  James  Tassie,  W.  Tassie,  George  Tattersall,  John  Taylor,  Peter  Taylor,  C. 
Teja,  E.  Tenner,  F.  Tepa,  E.  Tepper,  L.  Terrazzi,  H.  J.  Terry,  E.  Teschendorf,  E. 
Tetzner,  M.  Than,  W.  Theed,  E.  R.  Thirion,  C.  A.  E.  Thomas,  John  Thomas,  W.  L. 
Thomas,  Jacob  Thompson,  James  Thomson,  S.  A.  Thon,  0.  von  Thoren,  J.  Till,  L.  C. 
Timbal,  James  Timbrell,  J.  J.  J.  Tissot,  H.  G.  Todd,  M.  Todt,  V.  Tojetti,  A.  Toulmouche, 
H.  Toutin,  J.  Toutin,  Carl  L.  Tragardh,  J.  M.  von  Trenkwald,  W.  H.  Trood,  P.  D. 
Trouillebert,  G.  S.  Truesdell,  K.  A.  Trutowsky,  Charles  P.  Tschaggeny,  J.  B.  Tuttine, 
R.  S.  Tyrwhitt,  J.  W.  Upham,  S.  Ussi,  P.  Vaini,  Jules  E.  Valadon,  J.  Valentiny,  T. 
VaMrio,  H.  Valkenburg,  G.  Vanaise,  J.  van  Brcc,  J.  H.  F.  van  Lerius,  S.  Vannutelli, 
P.  A.  Varin,  M.  L.  B.  Vautier,  A.  Veillon,  C.  L.  Verboeckhoven,  E.  J.  Verboeckhoven, 
J.  L.  J.  Verdier,  E.  Verdyen,  J.  Verhaz,  M.  C.  Verlat,  J.  B.  Vermay,  A.  J.  Ver\v{5e,  J.  G. 
Vibert,  C.  L.  Vielcazal,  T.  Viero,  F.  Vinea,  H.  F.  Vion,  T.  de  Viva,  F.  Vizetelly,  H. 
Vizetelly,  W.  Vogels,  A.  C.  Voillemot,  A.  Vollon,  A.  J.  J.  Vollweider,  J.  F.  Voltz,  W. 
Volz,  A.  de  Vriendt,  J.  A.  Vrolyk,  Jau  M.  Vrolyk,  E.  L.  Wagrez,  G.  Walckiers,  Henry 
Wallis,  James  Ward,  Isaac  Ware,  J.  B.  Waring,  Robert  Warthmliller,  R.  F.  Wassmann, 
Jas.  Wathen,  M.  L.  Watson,  W.  H.  Watts,  Charles  M.  Webb,  A.  Wegelin,  J.  F.  W. 
Wegener,  K.  G.  Wegener,  C.  Weigand,  J.  G.  Weinhold,  L.  Weisser,  E.  Welker,  T.  L. 
Weller,  M.  Welter,  G.  Wertheimer,  F.  Westin,  K.  Weysser,  George  Whitaker,  J.  W. 
Whittaker,  N.  Whittock,  J.  J.  G.  van  Wicheren,  F.  Wichert,  W.  Widgery,  F. 
Wieschebrink,  H.  G.  Wieschebriuk,  H.  Wilhelm,  B.  Wilkes,  A.  von  Wille,  T. 
Willement,  T.  Williams,  Cajsar  Willich,  E.  A.  Willis,  W.  G.  Wills,  C.  H.  Wilson, 
M.  E.  Winge,  F.  W.  von  Winterfeldt,  H.  Wislicenus,  0.  Wisniewski,  E.  S.  Witkamp, 
J.  P.  Wittkamp,  J.  M.  Wittmer,  A.  E.  van  Woerndle,  M.  A.  Wolff,  A.  Wolfl,  B.  Woltze, 
A.  Wonseidler,  L.  J.  Wood,  W.  F.  Woodington,  Thos.  Woolner,  Jos.  Wright,  Wm. 
Wyld,  R.  Yeo,  E.  F.  You,  J.  M.  Youngman,  A.  Yvon,  M.  Zaliski,  E.  K.  G. 
Zimmermann,  F.  Zimmerrnann,  J.  B.  A.  Zo,  F.  Zuberbiihler. 

In  all  there  are  nearly  six  hundred  new  biographies  in  this  Volume,  and  over 
three  thousand  corrections  have  been  made  on  the  last  edition. 

The  Editor  would  like  to  add  a  word  in  explanation  of  the  fact  (frequently 
commented  upon  by  the  reviewers)  that  considerable  space  has  been  given  in  all  the 
volumes  to  modern  men,  especially  those  who  have  recently  died.  His  reason  for  this 
is  that  the  information  is  specially  required  when  those  artists  are  being  constantly 
referred  to  and  their  works  being  collected,  and  the  information  is  not  readily 
obtainable  outside  the  Dictionary  without  the  examination  of  many  books.  He  is 
aware  that  the  space  given  to  modern  men  is  often  disproportionate,  but  it  is,  if  an 
error,  an  intentional  one,  and  made  in  order  to  render  the  Dictionary  the  best  modern 
work  of  reference.  It  is  necessary  also  to  state  once  more  that  the  work  does  not 
deal  with  living  artists. 

In  conclusion,  the  Editor  takes  this  opportunity  of  thanking  all  his  contributors 
for  what  they  have  so  kindly  done  for  him,  and  the  reviewers  for  the  considerate 
way  in  which  they  have  received  and  reviewed  the  various  volumes.  His  thanks  are 
also  due  to  very  many  owners  of  pictures  who  have  allowed  the  works   in   their 


X  NOTE  TO  VOL  V. 

possession  to  be  described  and  often  photographed  for  use  in  this  work ;  and,  lastly, 
he  would  thank  all  those  critics  who  with  much  courtesy  have  written  to  him  pointing 
out  various  errors  and  suggesting  additions  and  improvements. 

It  was  at  one  time  thought  that  a  supplement  might  be  added  to  this  final  volume 
containing  notices  of  the  painters — unfortunately  a  considerable  number — who  have 
passed  away  while  the  book  has  been  in  the  press,  as  well  as  certain  memoirs  omitted 
in  previous  volumes.  The  volume  has,  however,  run  out  to  so  great  a  length,  that 
this  is  out  of  the  question.  The  Editor,  therefore,  can  only  express  the  hope  that 
when  sufficient  material  shall  have  accumulated,  he  may  be  privileged  to  issue  a 
supplementary  volume,  and  with  this  object  in  view  he  will  always  be  grateful  for 
the  assistance  of  his  numerous  readers,  and  begs  them  to  be  good  enough  to 
communicate  with  him  (to  the  care  of  the  publishers)  as  to  any  omissions  or  errors 
that  they  may  at  any  time  discover,  or  any  special  information  they  may  be  able  to 
impart. 


NOTICE 


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

The  arrangement  therefore  is  according  to  the  following  plan : 

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

Thus,  Cm-reggio  is  entered  under  AUegri,  Anto-iiio. 

Pinturicchio  „  Biagio,  Bernardino. 

Sebastiano  del  Pioinbo  „  Luciani,  Sehastiano. 

Tintoretto  „  Iiobusti,  Jacopo. 

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

Thus,  Charles  Le  Brun  is  entered  under  Le  Brun. 

Jan  David  De  Ileein  „  De  Ileein. 

Jean  Fran<;ois  de  Troy  „  Troy. 

Heinrich  Maria  von  Hess  „  Hess. 

Isaclc  van  Ostade  „  Ostade. 

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

Thus,  Alphoiise  du  Fresnoy  is  entered  under  Du  Fresnoy, 

Laurent  de  La  Hire                              ,,  .     De  La  Hire. 

Niccolo  deW  Ahbate                               „  DelV  Abbate. 

Girolamo  dai  Libri                                „  Dai  Libri. 

Wilkm  van  de  Velde                             „  Van  de  Velde. 


xii  NOTICE. 

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

Thus,  Peter  Be  Wint  is  entered  under  Be  Wint. 

(d)  Proper  names  with  the  prefix  St.  are  placed  as  though  the  word  Saint  were  written 
in  full :  and  similarly,  M'  and  Mc  are  arranged  as  3fac. 

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

Thus,  Baptiste  Auhry-Lecomte  is  entered  under  Aulnj-Lecomte. 

Juan  Cano  de  Arevcdo  „  Cmio  de  Arevalo. 

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

Thus,  Andrea  da  Bologna  is  entered  under  Bologna. 

Andrea  del  Sarto  „  Andrea. 

Fra  Bartolommeo  „  Bartohmimo. 

III.  Anonymous  artists  known  as  the  Master  of  the  Crah,  the  Master  of  the  Bie,  the 
Master  of  the  liat-Traj),  will  be  found  under  the  common  title  of  Master. 


CONTRIBUTORS  OF  INITIALED  ARTICLES. 

W.  A.  ...              ...  ...  ...  Sir  Walter  Aimstrong. 

J.  B.  ...              ...  ...  ...  J.  BaUlie. 

A.  L.  B.  ...              ...  ...  ...  A.  Lys  Baldry. 

A.  G.  B.  ...  ...  ...  ...  A.  G.  Bell. 

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

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

!'•  B.  ...  ...  ...  ...  Lawrence  Binyon. 

S.  B.  ...              ...  ...  ...  Selwyn  Brinton. 

J-  C.  ...  ...  ...  ...  Julia  Cartwriglit  (Mrs.  Ady). 

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

E.  A.  C.  ...              ...  ...  ...  E.  A.  Cazalet. 

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

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

M.  C.  ...              ...  ...  ...  Maud  Cruttwell. 

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

E.  H.  n.  C.    ...  ...  ...  ...  R.  H.  Hobart  Cust. 

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

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

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

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

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

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

B.  E.  ...  ...  ...  ...  Beatrice  Erskino. 

J.  E.  ...  ...  ...  ...  Jessie  Ewen. 

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

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

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

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

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

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

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

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

S.  H.  H.  ...  ...  ...  ...  Sermonda  Henniker-Heaton. 

H.  H.  ...  ...  ...  ...  H.  Hochheimer. 

J.  B.  S.  H.      ...  ...  ...  ...  J.  B.  Stoughton  Holborn. 

C.  H.  ...  ...  ...  ...  Charles  Holroyd. 

M.  J.  ...  ...  ...  ...  M.  Jourdain. 

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

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


CONTRIBUTORS  OF   INITIALED   ARTICLES. 

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

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

I-  Ij.  ...  ...              ...              ...  Ida  Lovering. 

E.  McO.  ...  ...              ...              ...  E.  McCurdy. 

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

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

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

L.  O.  ...  ...              ...              ...  Lucy  Olcott. 

E.  J.  0.  ...  ...              ...  ...  E.  J.  Oldmeadow. 

A.  OTi.  ...  ...              ...  ...  Agnes  O'Reilly. 

F.  M.  P.  ...  ...              ...  ...  F.  M.  Perkins. 

P-  P.  ...  ...              ...  ...  Percy  Pinkerton. 

A.  H.  P.  ...  ...              ...  ...  A.  H.  Pollen. 

S.  P.  P.  ...  ...              ...  ...  S.  Pugin  Powell. 

H.  R.  ...  ...              ...              ...  H.  Rayment. 

C.  R.  ...  ...              ...  ...  Corrado  Ricci. 

R.  R.  ...  ...  ...  ...  Ralph  Richardson. 

J.  P.  R.  ...  ...  ...  ...  J.  P.  Richter. 

F.  R.  ...  ...              ...              ...  Frank  Rinder. 

"W.  R.  ...  ...  ...  ...  W.  Roberts. 

E.  R.  ...  ...  ...  ...  Emily  Robertson. 

W.  B.  S.  ...  ...  ...  ...  William  Bell  Scott. 

F.  S.  ...  ...  ...  ...  Florence  Simmonds. 

H.  C.  S.  ...  ...  ...  ...  H.  Clifford  Smith. 

E.  S.  ...  ...  ...  ...  E.  Staley. 

E.  S.  ...  ...  ...  ...  Elliot  Stock. 

E.  C.  S.  ...  ...  ...  ...  E.  C.  Strutt. 

H.  S.  ...  ...  ...  ...  H.  Stubbs. 

C.  M.  W.  T.    ...  ...  ...  ...  C.  M.  W.  Turner. 

H.  W.  ...  ...  ...  ...  Henry  "Walker. 

G.  H.  W.  ...  ...  ...  ...  G.  H.  "Wallis. 

W.  H.  J.  W.  ...  ...  ...  ...  W.  H.  James  Weale. 

A.  W.  ...  ...  ...  ...  Albinia  Wherry. 

A.  W.  ...  ...  ...  ...  Alfred  Whitman. 

F.  W.  W.  ...  ...  ...  ...  Frederic  W.  Why te. 

G.  C.  W.  ...  ...  ...  ...  George  C.  Williamson, 


LIST   OF  ILLUSTRATIONS 


LEONARDO  DA  VINCI 

MoNA  Lisa Louvre        Frontispiece 

PIER  FRANCESCO   SACCHI 

St.  George  and  the  Dragon    ....  Chksa  dei  Frate  Levanto    To  face  p.      2 

GIOVANNI  BATTISTA  SALVI,  called   IL   SASSOFERRATO 

Portrait  op  the  Artist Uffizi  Gallery,  Florence  „  12 

Madonna  del  Rosario Sta.  Subina,  Borne  „  12 

GIROLAMO   DA  SANTA   CROCE 

The  Martyrdom  of  St.  Sebastian Berlin  Gallery  „  20 

Two  Saints National  Gallery  „  20 

GIOVANNI  SANTI 

The  Madonna  and  Child  with  Saints Berlin  Gallery  „  22 

Madonna  and  Child National  Gallery  „  22 

GIOVANNI   GIROLAMO    SAVOLDO 

The  Venetian Berlin  Gallery  „  23 

The  Adoration  of  the  Shepherds National  Gallery  „  26 

WILLIAM   SAY 

Queen   Caroline  (From  the  Mezzotint) „  28 

ARY   SCHEFFER 

St.  Adgdstine  and  St.  Monica National  Gallery  „  34 

MARTIN   SCHONGAUER 

The  Virgin  in  a  Garden  of  Roses  (Photogravure  Plate)  St.  Martin's  Church, 

Colmar  „  46 

JOHN  VAN  SCOREL 

Portrait  of  Cornelis  Aern'isz  van  der  Dussen     .        .        .  Berlin  Gallery  „  56 

WILLIAM   BELL   SCOTT 

The  Eve  of  the  Deluge „  58 

LAZARO   BASTIANUS,   CHlled    SEBASTIANI 

Madonna  and  Child  .         .         .   Collection  of  Father  O'Connor,  Eeighley  „  60 

ludwig  von  SIEGEN 

Amelia  Elizabeth,  Landgravine  of  Hesse.     1642 „  78 

LUCA  SIGNORELLI 

Saints Berlin  Gallery  „  80 

Portraits  op  Signorelli  and  Fha  Anqelico    .         .        .      C<xthcdral,  Orvieto  „  80 

JOHN   RAPHAEL   SMITH 

Tayadaneega,  Chief  of  the  Mohawks.     1779  (Frcrm  the  Mezzotint)      .        .  „  94 

FEANZ   SNYDERS 

The  Cock-Fight Berlin  Gallery  „  96 


^^  LIST  OF  ILLUSTRATIONS. 

ANDEEA  SOLARIO 

Christofobo  Longono National  GaUery    To  face  p.    98 

The  Redeemer Brera  Gallery,  Milan  „  100 

FRANCESCO  SQUARCIONE 

The  Madonna  and  Child Berlin  Gallery  „         112 

W.   CLARKSON   STAN  FIELD 

A  Market  Boat  on  the  Scheldt South  Kensington  „         114 

Entrance  to  the  Zdyder  Zee,  Texel  Island         .        .      National  Gallery  „         114 

Town  and  Castle  of  Ischia South  Kensington  „  114 

JAMES  STARK 

The  Valley  of  the  Yare  near  Norwich       .        .        .       National  Gallery  „         116 

JAN  STEEN 

The  Quack  Doctor Amsterdam  Gallery  „  118 

AMBROGIO  STEFANO  DA  FOSSANO,  called  BORGOGNONE 

Marriage  of  St.  Catherine  of  Alexandria  .        .        .       National  Gallery  „         120 

THOMAS  STOTHARD 

A  Greek  Vintage — A  Dance  in  the  Vineyard     .        .      National  Gallery  „         132 

JAMES   STUBBS 

The  First  of  September  {From  the  Engraving) „         140 

DAVID  TENIERS  (the  younger) 

Kermesse  at  Halbmond Dresden  GaUery  „  158 

An  Aged  Woman Antwerp  Gallenj  „  158 

The  Chateau  of  Teniers  at  Perck        ....  National  Gallery  „  160 

FfiTE  Aux  Chaudrons        .                National  Gallery  „  160 

GERARD   TER  BORCH 

Portrait  of  a  Gentleman National  Gallery  „  162 

Fatherly  Advice Berlin  Gallery  „         162 

DOMENICO  THEOTOCOPULI,  called  EL  GRECO 

View  and  Plan  of  Toledo Mrtseam,  Toledo  „  164 

The  Burial  of  the  Count  of  Orgaz      .        .        .  Santo  Torn^,  Toledo  „         166 

ALFRED  TIDEY 

The  Artist's  Son       ....         Collection  of  the  exors.  of  Mrs.  Tidey  „  178 

Ranulf    and    Stratford    Tollemache,    Children    of    Lord    Tollemache. 

(R. A.  1869.) Collection  of  Boioager  Lady  Tollemache  „  178 

HENRY  TIDEY 

Christ  Blessing  Little  Children  ,         Collection  of  the  exors.  of  Mrs.  Fuller  „         178 

GIOVANNI   BATTISTA  TIEPOLO 

Antony  and  Cleopatra Palazzo  Labbia,  Venice  „         180 

BENVENUTO  da  GAROFALO  TISIO,  called  GAROFALO 

Jupiter  and  Io Berlin  Gallery  „  184 

TITIAN 

Bacchus  and  Ariadne  {Photogravure  Plate)     .        .        ,  National  Gallery  „  186 

The  Old  Cornato Althorp  Collection  „  188 

The  Assumption Accademia,  Venice  „  190 

FRANCESCO  DA  TRINO,  or  PIER  FRANCESCO  GUALA 

Baptism  of  Christ.     1723         .        .         .  Collection  of  Mr.  G.  W.  Broum  „         204 

The  Guardian  Angel Collectioyi  of  Signor  F.  Negri  „         204 

CORNELIS  TROOST 

Scene  from  a  Dutch  Comedy Tlie  Hague  Gallery  „         208 

CONSTANT  TROYON 

Landscape  with  Cows Glasgow  Gallery  „         208 

Oxen  going  to  Plough Loiivre  „         203 

CCSIMO  TURA 

The  Madonna  and  Child  with  Saints  ....  Berlin  Gallery  „         210 


LIST  OF  ILLUSTRATIONS.  xvii 

J.  M.  W.  TURNER 

The  Fiohting  T^m^baire  (Photogravure  Plate)       .        .  National  Gallery  To  face  p.  212 

Venice South  Kensington  „          214 

Chichestek  Canal Natimwl  Gallery  „         216 

DON  JUAN   DE   VALDES-LEAL 

The  Assumption  of  the  Madonna Natiotwl  Gallery  „         226 

HUGH   VAN   DER  GOES 

The  Portinari  Altar-Piece Uffizi  Gallery,  Florence  „         242 

A  Canon  with  St.  Victor   (or  St.  Maubice)  (Photogravure  Plate) 

Glasgoio  Gallery  „  242 

AERT  VAN   DER  NEER 

Landscape  with  Figures — A  Canal  Scene,  Holland     .       National  Gallery  „         248 

PIETER   VAN   DER   PLAS  (or  PLAES) 

Portrait  called  John  Milton         .        .        .         National  Portrait  Gallery  „         250 

ADRIAAN  VAN   DER  WERFF 

The  Departure  of  Hagar Dresden  Gallery  „         252 

ROGIER  VAN  DER  WEYDEN 

The  Joys  and  Sorrows  of  the  Virgin Berlin  Gallery  „         254 

The  Seven  Sacraments Antwerp  Gallery  „         254 

ANDREA  VANNI 

Madonna  and  Child San  Donato,  Siena  „         256 

PIETRO  VANNUCCI,   called  PERUGINO 

The  Albani  Altar-Piece ViUa  Alhani,  Rome  „         258 

The  Delivery  of  the  Keys  to  St.  Peteb      .        .         Sistine  Chanel,  Borne  „         260 

GIORGIO  VASARI 

Christ  Driving  the  Traders  from  the  Temple     .        .  Vienna  Gallery  „         268 

DIEGO  RODRIGUEZ  DA  SILVA  Y  VELAZQUEZ 

Don  Carlos Prado  Gallery,  Madrid  „  274 

Las  Me.ninas  (Photogrami/re  Plate)    ....  Kingston  Lacy,  Dorset  „  276 

Philip  IV.  as  a  Sportsman       ...                 .  Prado  Gallery,  Madrid  „  278 

DOMENICO  DI   BARTOLOMMEO  VENEZIANO 

St.  Catharine Glasgow  Gallery  „         280 

JOHANNES  VERMEER  OF  DELFT 

The  Letter Amsterdam  Gallery  „  286 

The  Music  Lesson Windsor  Castle  „         288 

JOSEPH   VERNET 

L'Entr^e  du  Port  de  Marseilles Louvre  „         290 

LEONARDO  DA  VINCI 

The  Last  Supper ilUan  „         304 

Also  see  Frontispiece 

ALVISE   VIVARINI 

St.  Clare Accademia,  Venice  „  310 

Santa  GiusTiNA Galleria  Bagati-Valsecchi,  Milan  „         310 

The  Madonna  and  Child  with  Saints    ....  Berlin  Gallery  „         312 

(N.B. — This  illustration  is  by  request  headed  Luigi  Vivarini  rather  than  Alrise  Vivarini.) 

ANTONIO  VIVARINI 

Adoration  of  the  Kings Berlin  Gallery  „         314 

FREDERICK   WALKER 

The  Harbour  of  Refuge Tate  Gallery  „         328 

The  Vagrants  {Photogravure  Plate) Tate  Gallery  „  328 

JAMES  WARD 

Bull,  Cow  and  Calf  in  Landscapb         .         .        .  Nottingham  Gallery  „  334 


xviii  LIST  OF   ILLUSTRATIONS. 

J.  A.  WATTEAU 

L'Embabqdement  potjk  CtthSre  {Photogravure  Plate)       .     Old  Palace,  Berlin  To  face  p.  338 

Le  Grand  Qilles Louvre  „         338 

Studies  of  a  Negro's  Head Stockholm  Gallery  „         340 

G.  F.  WATTS 

Portrait  of  Cardinal  Manning       .        .        .        National  Portrait  Gallery  ,,         342 

Love  and  Life Taie  Gallery  „         344 

THOMAS  WEBSTER 

Sickness  and  Health „         348 

A  Dame's  School National  Gallery  „  348 

MEISTER  VON  WERDEN 

The  Vision  of  St.  Hubert  Edinburgh  Gallery  „  354 

FRANCIS   WHEATLEY 

Winter  {From  an  Engraving) n  358 

JAMES  McNeill  whistler 

Portrait  of  the  Painter's  Mother        ....   Luxembourg,  Paris  „         360 

La  Princesse  du  Pays  de  la  Porcelaine        .        .         .          Freer  Collection  „         362 

Black  Lion  Wharf,  Wapping  {From  an  Etching) „  364 

ANTOINE   JOSEPH  WIERTZ 

The  Mother  of  the  Artist Bnmds  „         370 

SIR   DAVID   WILKIE 

The  Letter  of  Introduction.     1814.       .      Collection  of  T.  BrocUebank,  Esq.  „         372 

Original  Drawing  for  same  "i  070 

„  ,  r,  1  V  on  one  page  .        .  „  „         Hi 

Cartoon  from  '  Punch    from  same  I 

The  Penny  Wedding.     1819 Buckingham  Palace  „         374 

RICHARD  WILSON 

Lake  Avernus Natioiwd  Gallery  „  380 

FRANZ   XAVER   WINTERHALTER 

Queen  Marie  Amelie Versailles  „         384 

MICHAEL   WOLGEMUT 

The  Crucifixion Munich  ^         390 

PHILIP  WOUWERMAN 

Halt  of  a  Hunting  Party Buckingham  Palace  „         396 

DOMENICO  ZAMPIERI,   called   DOMENICHINO 

The  Communion  of  St.  Jerome Vatican,  Rome  „         404 

JOHANN   ZAUFFELY,   called   ZOFFANY 

The  Cabin  of  the  'Norfolk' „         406 

Sir  James  Cockburn  and  his  Daughter  ....      National  Gallery  „         406 

MARCO  ZOPPO 

The  Madonna  and  Child  with  Saints Berlin  Gallery  „         414 

The  Dead  Christ National  Gallery  „         414 

FEDERIGO  ZUCCAKO 

Mary  Queen  of  Scots Chatsworth  „         416 

FRANCISCO  ZURBARAN 

St.  Bonaventura  and  St.  Thomas  Aquinas    ....  Berlin  Gallery  „         418 


BIOGRAPHICAL    DICTIONARY 


OF 


PAINTEKS   AND   ENGEAVEES 


SAAL,  Georq  Edhard  Otto,  landscape  painter, 
born  at  Coblentz  in  1818,  studied  at  Diisseldorf 
under  Scliinner,  but  went  in  1848  to  Heidelberg, 
then  to  Baden-Baden,  and  in  1870  to  Paris.  He 
painted  mountain  scenery,  and,  later  on  in  life, 
scenes  in  the  Forest  of  Fontainebleau.  He  died 
at  Baden-Baden,  where  he  was  court  painter,  in 
1870. 

SAAL,  T.,  an  indifferent  engraver  of  vignettes 
for  books.     He  lived  about  the  year  1672. 

SAAR,  Alois  von,  landscape  and  architectural 
painter,  born  at  Traiskirchen,  Lower  Austria,  in 
1799,  was  a  student  at  the  Vienna  Academy.  He 
painted  in  oils  and  water-colours  ;  some  of  his 
works  are  in  the  Vienna  Gallery.     He  died  in  1840. 

SAAVEDKA.     See  Del  Castillo  y  Saavedra. 

SABATELLI,  Francesco,  history  painter,  born 
at  Florence  in  1803,  was  the  pupil  of  his  father, 
Luigi  Sabatelli.  He  stndied  at  Rome  and  Venice, 
but  in  1823  was  invited  to  Florence  by  Leopold  II., 
and  became  Professor  of  the  Academy.  He  died 
at  Milan  in  1829. 

SABATELLI,  Giuseppe,  painter,  born  at  Milan 
in  1813,  was  a  pupil  of  his  father,  Liiigi  Sabatelli. 
In  1834  he  went  to  Florence,  and  became  a  Pro- 
fessor in  the  Academy.  He  painted  portraits  and 
historical  subjects.     He  died  at  Florence  in  1843. 

SABATELLI,  Ldiqi,  the  elder,  history  painter 
and  etcher,  bom  at  Florence  in  1772,  studied  at  the 
Academy  of  tliat  city  under  Pietro  Pedroni.  From 
1788  to  1793  he  was  in  Rome,  and  from  1795  to 
1797  in  Venice.  In  1808  he  was  appointed  Pro- 
fessor of  the  Academy  at  Milan  by  Eugene  Beau- 
harnais.     Of  his  works  we  may  name : 

Abigail  before  Darid  ;   in  the  Chapel  of  the   Tirgin   at 

Arezzo. 
The  Blessing  of  the  Children  ;  in  the  Paroni  Palace  at 

Genoa. 
Heliodorus  driven  from  the  Temple. 
Portrait  of  the  Artist  himself. 

The  Four  Great  Prophets  ;  in  St.  Gaitdenzio,  Novara. 
The  Olympic  Games  ;  in  the  Piiti  Palace  in  Florence. 
The  Marriage  of  Cupid  and  Psyche ;  in  the  Busca  Ser- 

belloiii  Palace  in  Milan. 
The  Adoration  of  God  through  Prophets  and  Patriarchs  ; 

in  the  Church  of  I'almaih'ertt  at  Lec.o. 
Three  Scenes  from  the  Life  of  Galileo. 
The  Triumph  of  Cupid  ;  in  the  1'illa  Giontiniat  Florence. 
The  Coronation  of  the  Virgin  ;  in  S.  Firenze  in  Florence. 
The  Plague  of  Florence.     (Etchimj.) 
The  Visions  of  the  Apocalypse.     {Do). 

In  many  of  his  frescoes  he  was  assisted  by  his 

VOL.  V.  B 


son  Luigi  Sabatelli,  the  younger.  He  died  at 
Milan  in  1850. 

SABATERII,  Pierre,  a  skilful  glass-painter,  of 
the  13th  century,  practising  at  Montpellier  about 
1298.  He  decorated  the  cathedral  with  fine 
paintings  on  glass,  which  were  much  admired  for 
their  excellent  composition  and  brilliant  colour. 
His  son  Laurent  succeeded  his  father  in  his  prac- 
tice, and  was  an  artist  of  much  merit. 

SABBATINI,  Andrea,  (Sadatini,)  called  Da 
Salerno,  a  painter,  was  born  at  Bologna  about 
1480.  He  was  the  son  of  a  wealthy  merchant, 
who,  finding  his  son  had  a  taste  for  art,  took  him  to 
Naples,  and  placed  him  under  the  tuition  of  Raimo 
Epifanio,  a  painter  of  little  celebrity,  under  whom 
he  studied  some  time.  He  is  then  said  to  have 
obtained  his  father's  permission  to  visit  Perugia, 
to  profit  by  the  lessons  of  Perugino.  On  his  journey 
he  encountered  some  artists,  who  were  so  loud  in 
their  praise  of  Raphael,  that  Andrea  digressed  into 
that  painter's  atelier,  and  in  a  short  time  was  found 
of  sufficient  ability  to  be  intrusted  by  Raphael  tO' 
execute,  from  his  designs,  some  of  the  frescoes  in 
the  Vatican  and  in  S.  Maria  della  Pace.  It  is  also  said 
that  while  prosecuting  his  studies  under  Raphael,  he 
was  recalled  to  Salerno  by  the  illness  of  his  father, 
who  died  soon  after  his  arrival.  The  whole  of  this 
Roman  tale  rests,  however,  on  the  unsupported 
evidence  of  the  untrustworthy  De'  Dominici.  So 
far  as  the  facts  are  surely  known,  Sabbatini  worked 
only  at  Naples,  where  he  was  soon  regarded  as 
the  ablest  artist  of  the  school.  His  frescoes  in  S. 
Maria  della  Grazie  have  been,  for  the  most  part, 
destroyed  by  alterations  made  in  that  church,  but 
those  in  the  vestibule  of  the  inner  court  of  S. 
Gennaro  dei  Poveri  still  exist.     Other  works  are : 


Brancacci  \ 
0.  ) 


Naples. 

Chapel,  Dnoni' 
„  S.  Spirito  di  Palazzo. 
„     S.  Domenico  3Ia(j- 
i/iore. 


The  Assumption  of  the  Virgin. 


Salerno. 


The  Adoration  of  the  Magi. 
)Tbe    Madonna   and    Bambino, 
J      with  St.  Elisabeth  and  other 
Saints. 

Museum.     Descent  from  the  Cross. 
„  Adoration  of  the  Magi. 

„  Miracle  of  St.  Nicholas  of  Bari. 

„  St.  Benedict  enthroned  among 

Six  Saints. 
„  Two  Scenes  from  the  Life  of 

St.  PlaciJus. 
Duomo.     A  Pieta. 


Sabbatini  died  at  Gaeta  in  1545. 


A  BIOGRAPHICAL  DICTIONARY  OF 


SABBATINI,  Lorenzo,  called  Lobenzino  da 
Bologna,  was  born  about  1630  at  Bologna,  where 
he  studied  under  Tibaldi.  After  having  painted 
several  pictures  for  the  churches  at  Bologna,  he 
visited  Rome  during  the  pontificate  of  Uregory 
XIII.,  and  improved  liis  style  by  study  of  the 
works  of  Raphael,  imitating  them  with  such  suc- 
cess, that  he  has  been  called  a  pupil  of  Raphael, 
although  he  was  born  some  ten  years  after  his  death. 
In  his  smaller  pictures  he  seems  to  have  followed 
Parmigiano.  He  was  employed  by  the  pope  in  the 
Capella  Paolina,  in  the  Vatican,  where  he  painted 
several  subjects  from  the  Life  of  St.  Paul  in  con- 
iunction  with  Federigo  Zuccaro.  In  the  Sala 
Reggia  he  painted  a  '  Triumph  of  Faith.'  These 
works  were  executed  so  much  to  the  satisfaction 
of  the  pope,  that  he  was  appointed  superintendent 
of  the  decorations  then  going  on  in  the  Vatican. 
Sabbatini  died  at  Rome  in  1577.  Of  his  numerous 
pictures  we  may  name : 

Bologna.     S.  Pietroand  |  ^  Madonna  with  Saiuts. 

„         S.  Maria  delle )  mi     ri      -c  ■ 

Grazie.         \  ^^^  Crucifixion. 

„  La  Morte.     The  Assumption. 

„     S.  Martino  May-  )  g    j^^^j,;^  ^^^  g^  ^^^^ 

ywre.         j 
„  S.  Giacomo.     St.    Miehail    vauquishiug     the 

Rebel  Angels. 
5j  ,,  The  Four  Evatigehsts. 

„  „  The     Four     Doctors     of     the 

Church. 
Dresden.  Gallery.     Marriage  of  St.  Catharine. 

Paris.  Lou  tire.     Virgin  and  Child  and  St.  John. 

SABLET,  Jacques  Henri,  brother  of  the  next- 
named,  was  born  in  1749  at  Morges.  He  was  the 
pupil  successively  of  Dubois  and  Cocher,  at  Lyons, 
and  of  Vien,  in  Paris.  He  travelled  in  Spain  and 
lived  twenty  years  in  Italy,  dying  in  Paris  in 
1803.  There  are  five  of  his  pictures  in  the  Nantes 
Museum. 

SABLET,  Jean  Fbanijois,  was  born  at  Morges, 
in  Switzerland,  in  1751,  and  taught  the  rudiments 
of  art  by  a  decorator  at  Lyons.  He  then  went  to 
Paris,  where  he  studied  under  Vien,  whom  he 
accompanied  to  Rome,  wliere  he  studied  anatomy, 
ornamental  design,  and  costume,  and  painted  por- 
traits, genre  pictures,  and  landscapes.  He  settled 
at  Nantes,  where,  in  1812,  he  was  commissioned 
by  the  town  to  paint  six  grisailles  for  the  Bourse, 
illustrating  Napoleon's  visit  to  Nantes.  After 
Waterloo  these  were  sold  and  exported  to  America. 
Sablet  died  at  Nantes  in  1819.  There  are  six  of  his 
works  in  the  Nantes  Museum. 

SABLON,  Pierre,  a  designer  and  engraver,  was 
born  at  Chartres,  in  1684,  according  to  his  inscrip- 
tion on  the  oval  border  of  his  own  portrait : 
■"  Pierre  Sablon  Ciiabtrain.  xxiii  ans.  1607."  On 
the  margin  is  inscribed  : 

**  Me  contemplant  un  jour  en  deux  diuerses  glaces 
Je  veis  le  mien  Profil  despainct  naiuement ; 
Lors  je  deliber^  en  moy  soudainemeut 
De  graver  ce  Pourtraict  dont  vo'  voyez  les  traces." 

There  are  only  three  other  prints  known  by  him  : 
'  Lamech  and  Cain,'  after  Lucas  van  Leyden, 
(Bartsch,  N"  14,)  but  left  unfinished  (it  is  the 
counterpart  of  the  original,  and  has  the  date  1524 
high  up  on  the  right,  the  5  reversed,  and  the  mark 
of  Lucas  ;  at  the  bottom  P.  Sablon  f.  1602  ;  '  The 
Good  Samaritan,'  a  small  square  print,  mentioned 
in  the  collection  of  Paignon  Dijonval ;  and  the 
portrait  of  Rabelais,  bust  turned  to  the  right,  but 
full  face.  This  is  a  medallion ;  on  the  border  is 
2 


inscribed  "  Franc.  Eabelesius  ;  "  in  the  exergue, 
"  Sdm  petulantis  plene  caching.  Pers  P. 
Sablon  /." 

SACCHI,  Andrea,  sometimes  called  Ouche,  born 
at  Nettuno,  near  Rome,  about  the  end  of  the  16th 
century,  was  the  son  of  Benedetto  Sacchi,  a  painter 
of  little  note,  by  whom  he  was  first  instructed  ;  he 
afterwards  studied  under  Francesco  Albani.  On 
leaving  the  school  of  that  painter  he  studied 
Raphael,  Polidoro  da  Caravaggio,  and  the  antique. 
He  was  favoured  by  Cardinal  Barberini,  who  em- 
ployed him  in  his  palace.  Several  of  the  public 
buildings  of  Rome  possess  his  works.  His  '  St. 
Romuald  with  his  Monks,'  in  the  Vatican  Gallery, 
used  to  be  considered  one  of  the  four  finest  pictures 
in  Rome.  The  composition  is  extremely  simple;  it 
represents  the  Saint  seated  in  a  valley  of  the 
Apennines,  surrounded  by  some  members  of  his 
order,  and  explaining  his  reasons  for  retiring  from 
the  world.  The  effect  he  has  given  to  a  group  of 
six  figures,  all  habited  in  white  drapery,  without 
the  aid  of  contrast,  is  very  remarkable.  Sacchi 
died  at  Nettuno  in  1661.  Among  his  pupils  were 
Lauri,  Garzi,  and  Carlo  Maratta.  Additional 
works: 

Madrid.  Gallery     SS.     Paul     the     Hermit    and 

Anthony. 
„  „  Portrait  of  Fr.  Albani. 

„  „  „        „  Himself. 

Petersburg.     Hermitage.    Angel  consoling  Hagar. 
„  „  Triumph  of  Truth. 

„  „  Repose  of  Venus. 

Rome.  Vatican.    Ma«s  of  St.  Gregory. 

Clement  VIII. 
„    'S'.  Carlo  a  Catinari.     Death  of  St.  Anna. 
„  *S'.  Giuseppe.    Angel  appearing  to  Joseph. 

„  Quinnal.     St.  Andrew. 

Vienna.  Gallery.     Ham  scoffing  at  Noah. 

„  „  Juno  in  her  Car. 

„  „  Wisdom    surrounded    by    the 

Virtues. 

SACCHI,  Antonio,  an  Italian  painter  of  the 
17th  century,  a  native  of  Como.  He  studied  at 
Rome,  and  is  said  to  have  died  of  grief  in  1694,  in 
consequence  of  having  painted  an  ill-proportioned 
fresco. 

SACCHI,  Carlo,  painter,  was  born  at  Pavia  in 
1617  (?),  and  learned  the  first  rudiments  of  design 
in  Milan  from  Rossi.  He  went  to  Rome,  where  he 
resided  some  time,  and  afterwards  visited  Venice. 
The  works  of  Paolo  Veronese  were  the  particular 
objects  of  his  imitation,  and  one  of  liis  best  pictures, 
a  '  St.  James  raising  a  dead  person,'  in  the  Osser- 
vanza,  at  Pavia,  is  painted  nmch  in  the  style  of 
Paolo.  He  also  executed  some  etchings  after  the 
Venetian  masters,  among  which  are  an  'Adora- 
tion of  the  Shepherds,'  after  Tintoretto,  and  an 
'  Adoration  of  the  Magi,'  after  P.  Veronese.  lie 
died  at  Pavia  in  1706. 

SACCHI,  Gasparo,  of  Imola,  flourished  in  tlie 
early  part  of  the  16th  century,  and  painted  niimy 
pictures  in  Ravenna  and  other  parts  of  the  iio- 
magna.  In  the  sacristy  of  Castel  S.  Pietro  at 
Imola  there  is  an  altar-piece  with  his  name,  and 
the  date  1517  ;  and  at  Bologna,  in  S.  Francesco-in- 
Tavola,  another  dated  1521. 

SACCHI,  Giuseppe,  the  son  of  Andrea,  painted 
portraits  and  historical  subjects  in  the  17th  cen- 
tury. He  was  his  father's  pupil,  and  eventually 
became  a  friar  minor.  No  known  work  of  his  is 
extant,  but  it  has  been  surmised  that  a  '  Sibyl,'  at 
Warsaw,  attributed  to  '  Giuseppe  Sacconi,'  may  be 
by  him. 


PIER   FRANCESCO  SACCHI 


\_Chicsa  dti  Fiatc,  Lcvaiito 


ST.  GEOKGK  AND  THE  DRAGON 


PAINTERS  AND  ENGRAVERS. 


SACCHI,  M.,  (or  II  Sacchi,)  a  native  of  Casale, 
■flourished  in  the  17th  century.  He  painted  in  S. 
Francesco,  at  Casale,  a  picture  representing  a  lottery 
for  marriage  portions,  in  which  a  great  assemblage 
of  fathers,  mothers,  and  their  daughters  is  intro- 
duced. At  S.  Agostino  di  Casale  is  a  standard, 
a  '  Virgin  and  Saints,'  containing  portraits  of 
several  princes  of  the  house  of  Gonzaga,  by  him. 

SACCHI,  Pier  Francesco,  (called  variously 
Sacchio,  Sacchius,  Sacco,  and  Saccus,  Francesco, 
or  Pier  Francesco,  surnamed  il  Pavese,  or  Pietro 
or  Pier  Francesco  di  Pavia,)  has  been  wrongly 
recorded  by  Lomazzo  as  one  of  the  artists  who 
flourished  at  Milan  under  Francesco  Sforza.  As  a 
matter  of  fact,  his  works  were  all  executed  in 
the  16th  century.  The  earliest  work  by  him  is 
the  '  Parting  of  St.  John  the  Baptist  from  his 
Parents,'  dated  1512,  in  the  oratory  of  Sta.  Maria 
at  Genoa.  In  1514  he  painted  a  '  Crucifixion  with 
Saints '  (now  in  the  Berlin  Museum)  for  the  church 
of  S.  Francesco  di  Paolo  at  Nervi,  and  in  1514 
the  '  Four  Doctors  of  the  Church '  (now  in  the 
Louvre  in  Paris)  for  the  church  of  S.  Giovanni 
di  Pre,  afterwards  S.  Ugo.  Documents  bearing 
date  July  12  and  17  prove  that  in  1520  he  was  a 
member  of  the  Council  of  the  Guild  of  Painters  at 
Genoa ;  and  in  1526  he  completed  the  '  Glory  of 
the  Virgin,  with  Saints,'  still  in  the  church  of  S. 
Maria  at  Castello.  His  latest,  and  finest,  recorded 
work  is  a  '  Deposition  '  in  the  church  of  SS.  Nazzaro 
and  Celso  a'  Multedo,  near  Pegli  ;  but  there  is  a 
magnificent  '  St.  George  '  in  the  church  of  the  Frati 
Minori  at  Levanto,  near  Spezia,  of  which  we  give 
an  illustration,  that  may  with  justice  be  assigned 
to  him,  whilst  a  'St.  Jerome  and  St.  Martin,'  once 
attributed  to  Zingaro,  also  in  the  Berlin  Museum, 
is  most  characteristic  of  his  peculiar  style.  The 
drawing  and  colour  of  his  earlier  work  is  hard  and 
unpleasant  in  line  and  texture,  and  there  is  a  want 
of  flexibility  in  his  figures,  but  he  gradually  im- 
proved, and  was  always  fully  alive  to  the  beauty  and 
interest  involved  in  accessories,  landscape,  costunae, 
details,  &c.,  with  which  his  work  is  apt  to  be  even 
too  overladen.  His  artistic  tendencies  are  distinctly 
North  Italian,  with  reminiscences  of  the  delicacy 
of  feeling  distinguishing  the  Umbro-Peruginesques 
of  the  Bolognese  and  Ferrarese  School.  From  a 
certain  similarity  of  type  and  finish  in  detail  he 
has  even  been  erroneously  described  as  the  master 
of  Moretto.  Little  or  nothing  is  known  of  his 
private  life. 

Besides  those  works  already  mentioned,  the  fol- 
lowing, though  not  signed  according  to  his  usual 
custom,  have  been  attributed  to  him : 
Berlin.  Museum.     Holy    Family.     (Attributed    to 

Solario,  hut  icitk  more  reason 
perhaps  to  Cesare  Magna.) 
Multedo.  Church  of  SS.-\^^^^^    ^^^  ^j  g^^^^^  j^^^  t^^ 
.\azzaroandV     p^^f^^^ 
Celso  {iSacrist7/).j 
Paris.  Coll.  of  late}  tt  i    -c  ^■^ 

Pavia.  Mahtspina  CoJI.     Crucifixion.     (Much  injured.) 
,,      Ch.of  S.Micheh.     Frescoes  auilDecorations  ;  Four 
Doctors,  Symbols  of  the  Evan- 
gelists, and  Prophets. 

Eome.  Palaz:oCorsini.     The  Apotheosis  of  S.  Bernardino 
of  Siena.  R.  H.  H.  C. 

Mention  of  another  PiEK  Francesco  Pavese  oc- 
casionally occurs  as  early  as  1460. 

SACCHIATI,  Pietro,  a  native  of  Ravenna,  born 
about  1598,  is  noticed  by  Basan  as  an  engraver  in 
wood  and  chiaroscuro  after  various  masters. 
B  2 


SACCHIENSIS  (or  De  Sacchio).  See  Licimo,' 
Giovanni  Antonio. 

SACCO,  SciPioNE,  (Sacchi,)  a  painter,  and  native 
of  Cesena,  who  flourished  in  the  16th  century.  He 
painted  a '  St.  Gregory '  for  the  cathedral  of  Cesena, 
which  is  inscribed  Cxsenas,  1545  ;  and  a  '  Death 
of  St.  Peter  Martyr '  for  the  church  of  S.  Domenico. 
He  is  said  by  some  to  have  been  a  pupil  of 
Raphael. 

SACRAMENTO,  Jdan  del  Santisimo.  See 
Guzman. 

SADDLER,  John,  line-engraver,  was  born  in 
1813,  and  became  a  pupil  of  George  Cooke,  under 
whom  he  was  employed  on  Turner's  '  Southern 
Coast  of  England.'  Later  on  he  engraved  the  ships 
in  the  large  plate  of  'The  Fighting  Tem^raire,'  of 
which  the  rest  was  executed  by  Dickens  and 
Willmore.  Thereafter  he  worked  with  Thomas 
Landseer  after  Sir  Edwin  Landseer,  especially 
on  'The  Children  of  the  Mist,'  'The  Twins,' 
'  Braemar,'  and  also  Rosa  Bonheur's  '  Horse  Fair.' 
From  1862  he  exhibited  engravings  constantly 
at  the  Royal  Academy  ;  after  Millais  from  1862  to 
1864;  'Government  House,  Sydney'  (J.  S.  Prout, 
1868);  'Les  Miserables'  (G.  Dore,  1873);  'Illus- 
tration to  "My  Little  Lady"'  (Sir  E.  J.  Poynter, 
1877);  'Hop  Gardens,  Kent'  (C.  Lawson,  1879); 
'  Lieut.-Coloiiel  Cosmo  Gordon'  (Sir  G.  Reid, 
1880)  ;  'The  Lady  of  the  Woods  '  (J.  MacW^hirter, 
1882);  and  'Durham  Cathedral'  (H.  Dawson, 
1883).  His  last  plate  was  Dore's  '  Vale  of  Tears.' 
He  left  unfinished  a  plate  after  the  portrait  of  Mr. 
Walter  of  the  'Times,'  begun  by  F.  HoU  and  com- 
pleted by  Prof.  Herkomer.  He  was  one  of  the 
last  who  worthily  carried  on  the  traditions  of 
English  line-engraving.  He  did  many  book  illus- 
trations also,  after  Millais,  Tenniel,  Poynter,  Dor^, 
and  others.  He  was  an  occasional  exhibitor  at  the 
Royal  Society  of  British  Artists  as  well  as  the 
Royal  Academy.  His  sad  death  by  his  own  hand 
iu  a  fit  of  depression  occurred  at  Wokingham, 
Berkshire,  on  March  29,  1892. 

SADELER,  GiLLis,  (.^Eqidius,)  the  nephew  and 
the  pupil  of  Jan  and  Raphael  Sadeler,  was  born  .at 
Antwerp  in  1575.  After  being  well  grounded  in 
the  principles  of  design,  he  took  up  the  graver,  and 
in  a  few  years  reached  a  perfection  beyond  that  of 
his  instructors.  He  had  passed  some  time  in  Italy, 
where  he  engraved  some  plates  after  Italian 
painters,  when  he  was  invited  to  Prague  by  the 
Emperor  Rudolph  II.,  who  retained  him  in  his 
service,  and  assigned  him  a  pension.  He  enjoyed 
the  favour  and  protection  of  the  two  succeeding 
emperors,  Matthias  and  Ferdinand  II.  He  used 
the  graver  with  a  commanding  facility,  sometimes 
finishing  his  plates  with  surprising  neatness,  when 
the  subject  required  it ;  at  other  times  working 
broadly  and  boldly.  His  plates,  which  are  very 
numerous,  represent  historical  subjects,  portraits, 
landscapes,  &c.  Some  are  from  bis  own  designs, 
and  many,  particularly  his  portraits,  are  of  great 
excellence.  Sadeler  died  at  Prague  in  1629.  He 
has  been  called  '  The  Phoenix  of  Engraving.'  The 
following  are  considered  his  best  prints : 

PLATES   AFTER    HIS   OWN    WORKS. 

The  Kmperor  Matthias.     1616. 

The  Empress  Anne,  his  consort.     1616. 

The   Emperor   Ferdinand   II.   on   horseback ;    in  two 

sheets.     1629. 
Burckhard  de  Berlihing,  Privy  Counsellor  to  Rudolph  II. 
Christopher  Guarinonius  Fontanus,  Physician  to    the 

same. 

o 


A   BIOGRAPHICAL   DICTIONAIiY  OF 


John  George  Goedelmau,  Jurisconsult. 

Joachim  Huber,  Aulic  Counsellor. 

Jacob  Chimarrhaeus,  Grand  Almoner. 

Cardinal  de  Dietriohstein,  Bishop  of  Olmiitz.     1(304. 

John  Matthew  Wareufels,  Aulic  Counsellor.     1614. 

Adam,  Baron  de  Trautmausdorf. 

Siegfried  de  Kolouitsch. 

Ferdinand  du  Kolouitsch. 

Torquato  Tasso,  Poetamm  Princeps.     1617. 

Octavius  Strada,  Antiquary. 

Peter  Brueghel,  painter,  of  Brussels.     1606. 

Martin  de  Vos,  painter,  of  Antwerp. 

Sigismond  Bathori,  Prince  of  Transylvania. 

A  set  of  tweh'e  plates,  represeutiug  Angels  with  the 

Instruments  of  the  Passion. 
A  set  of  fifty-two  S^iews  near  Kome,  entitled  '  Vestigi 

delle  Autichita  di  Koma.' 
The  Burning  of  Troy,  an  etching  ;  ^i/.  Sadeler,  fecit, 

aqva  forti. 
Charity,  represented  by  a   female  figure   with  three 

children. 
Narcissus  admiring  himself  in  a  Fountain. 
Pau  and  Syrinx. 
St.  Sebastian  dying,  with   an  Angel  drawing  out  the 

arrows  from  his  side. 
St.  Dominick  receiving  the  Institution  of   his  Order 

from  St.  Peter  and  St.  Paul. 
The  Scourging  of  Christ. 
The  Crucifi-xion. 
The  Great  Saloon  at  Prague ;  in  two  sheets. 

PLATES   AFTER   VARIOUS   MASTERS. 

The  Emperor  Rudolph  II.  on  horseback,  with  a  Battle 
in  the  background  ;  afte)'  Ad.  de  Vries. 

The  Virgin  and  Child  ;  after  Raphael. 

The  Angel  appearing  to  the  Shepherds  ;  after  Bassano. 

The  Murder  of  the  Innocents ;  after  Tintoretto. 

The  Last  Supper ;  after  tlie  same. 

St.  Peter  called  to  the  Apostleship ;  after  F.  Baroccio. 

The  Entombment  of  Christ ;  after  the  same. 

Tlie  Scourging  of  Christ ;  after  the  Cavaliere  d'Arpino. 

The  Martyrdom  of  St.  Sebastian ;  after  Palma  Giovine. 

The  Rich  Man  and  Lazarus  ;  after  the  same. 

Angelica  and  Medora  ;  after  Carlo  Cagliari. 

Hercules  and  Omphale  ;  after  B.  Spranyer. 

The  Marys  at  the  Tomb  of  Clu:ist ;  after  the  same. 

The  Annunciation  ;  after  Peter  de  Witte  {Candida). 

The  Virgin  and  Infau't  Jesus  ;  copied  from  Albert  Direr. 

Christ  bearing  his  Cross  ;  the  same. 

Judith  with  the  Head  of  Holofernes ;  after  Johann  van 
Aachen. 

The  Nativity  ;  after  the  same. 

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

Several  sets  of  Landscapes;  after  Brueghel,  Paul  Brill, 
Roelant  Savery,  P.  Steevens,  &c. 
« 
SADELER,  Jan,  engraver,  was  born  at  Brussels 
in  1550.  The  profession  of  his  father  was  to 
engrave  ornaments  on  steel  and  iron,  to  be  inlaid 
with  gold  or  silver,  and  Jan  S.adeler  was  brought 
up  to  the  same  business.  At  a  very  early  age, 
however,  he  applied  himself  to  the  study  of  the 
human  figure,  which  he  drew  correctly,  though 
with  the  stiffness  and  formality  of  the  time.  He 
was  nearly  twenty  years  of  age  before  he  com- 
menced engraving  on  copper,  when  he  executed 
some  plates  from  the  designs  of  Crispin  Van  den 
Broeck,  which  were  so  favourably  received,  that  he 
was  encouraged  to  devote  his  attention  entirely  to 
engraving.  He  travelled  throughout  Germany  to 
Italy,  where  he  divested  himself,  in  a  great  degree, 
of  the  dry  and  hard  manner  which  is  discernible  in 
his  earlier  works.  His  plates  are  executed  with 
tlie  graver  only,  in  a  neat,  clear  style.  His  drawing 
is  generally  correct,  and  there  is  fine  expression 
in  his  heads.  Jan  Sadeler  died  at  Venice  in  1600. 
His  prints  are  very  numerous  ;  the  following  list 
is  confined  to  the  best : 


PORTRAITS. 
Clement  VIII.,  Pont.  3fa.v. 
Marie  de'  Medici. 

Charles,  Hereditary  Prince  of  Sweden. 
Otho  Henry.  Count  Schwarzenberg. 
Sigismuud  Feyerabend,  the  famous  priuter.     1537. 
George  Hoeinagel,  painter  of  Antwerp. 
Alartin  Luther ;  in  an  arabesque  border. 

SETS   OF    PRINTS. 
Eight  plates  of  the  Creation  of  the  World ;  after  Crispin 

J'an  den  Broeck. 
Six  of  the  History  of  Adam  aud  Eve;  after  Michiel 

van  Coxe. 
Sixteen  subjects  from  the  Book  of  Genesis ;  after  M.  de 

Vos. 
The  Life  of  Christ ;  after  the  same. 
Seven  plates  of  our  Saviour's  Passion  ;  afle)'  Christopher 

Schicarz. 
A  set  of   prints  called  '  The    Hermite ' ;    engraved    in 

conjunction  with  his  brothets  ;  after  the  same. 
The  Twelve  Months  of  the  Year ;  after  P.  Steevens. 
The  Four  Seasons  ;  after  Hans  Bol. 
The  Four  Times  of  the  Day ;  after  Tlieodore  Bernard. 

SUBJECTS   AFTER    VARIOUS    MASTERS. 

Dives  and  Lazarus ;  after  Bassano.     (One  of  the  three 

'  Sadeler's  Kitchens.') 
Christ  with  Martha  and  Mary  ;  after  the  same.     (Ditto. ) 
The  Angel  appearing  to  the  Shepherds  ;  aftei'  the  same. 
The  Nativity  ;  after  Polidoro  da  Caravaggio. 
The  Virgin,  with  the  Infant  sleeping,  and  an  Angel ; 

after  An.  Cai^'acci. 
St.  Jerome  praying;  after  Gillis  HfostaeiL 
Mary  Magdalene  in  meditation  ;  after  the  same. 
St.  Roch,  with  two  Pilgrims  ;  after  the  same. 
Jesus  calling  to  Him  the  little  Children ;  after  Jodocus 

de  JJ'inghe. 
The  Prodigal  Son  ;  after  the  same. 
The  Annunciation  ;  after  Peter  de  Witte  (Candida). 
Christ  at  table  with  the  Disciples  at  Emmaiis  ;  after  the 

safue. 
The  three  Marys  at  the  Sepulchre ;  after  the  same. 
The  Last  Supper ;  after  the  same. 
The  Martyrdom  of  St.  Ursula ;  after  the  same. 
The  Nativity  ;  after  J.  van  Aachen. 
The  Holy  Family,  with  Mary  Magdalene ;  after  the  same. 
The  Crucifixion  ;  after  the  same. 
The  Last  Judgmeut ;  after  the  same. 
Mary  Magdalene  peniteut ;  after  Federigo  Zustris. 
Christ  appearing  to  Magdalene  ;  after  the  same. 
The  Approach  of  the  Deluge  ;  after  Theodore  Bernard. 
The  Coming  of  the  La.st  Day;  after  the  same. 
The  Trinity  ;  after  Antonio  Maria  I'iani. 
Several  Landscapes ;  after  Paul  Brill,  and  others. 

SADELEIR,  Marcus,  is  supposed  to  have  been 
the  son  of  Jan  Sadeler,  aud  to  have  been  born  at 
Munich  between  1689  and  1595  ;  but  great  uncer- 
tainty liangs  about  his  paternity,  and  it  is  not  clearly 
known  whether  he  was  an  engraver  as  well  as  a 
publisher  of  prints.  He  resided  many  j'ears  at 
Venice,  whither,  it  is  said,  he  was  taken  by  Jan 
Sadeler,  and  it  is  certain  that  many  of  the  prints  by 
Jan,  Raphael,  and  Gillis  were  published  by  liini ; 
but  only  the  second  states  have  his  address.  Neither 
Basan,  Lipowsky,  nor  Fiissli  mention  any  of  his 
works ;  while  the  '  Passion  series,'  after  Diirer, 
which  Ileller  ascribes  to  Marcus,  are  without  sig- 
natures or  dates  (the  latter  would  range  from  1607 
to  1613),  although  the  second  states  have  Marcus 
Sadeler's  address.  They  are  all  reversed  from  the 
plates  by  Diirer. 

SADELER,  Philipp,  engraver,  a  native  of 
Munich,  the  son  of  Gillis  Sadeler,  flourished  about 
1626.  He  engraved  portraits,  landscapes,  and 
pictures  of  saints. 

SADELER,  Raphael,  the  younger  brother  of 
Jan  Sadeler,  was  born  at  Brussels  in  1555,  and 
brought  up  to  the  same  profession.  Jan  and  Raphael 


PAINTERS  AND  ENGRAVEKS. 


travelled  togetlier  through  Germany,  where  Ra- 
phael engraved  a  variety  of  plates,  after  Johann 
von  Aachen,  Matthias  Kager,  Matthias  Grtinewald, 
and  other  masters.  They  afterwards  settled  at 
Venice.  Following  the  example  of  his  brother, 
Raphael  Sadeler  worked  entirely  with  the  graver, 
which  he  handled  with  boldness  and  precision. 
His  drawing  of  the  figure  is  correct.  His  printf 
are  nearly  as  numerous  as  those  of  his  brother. 
Some  are  very  fine,  particularly  those  after  Van 
Aachen,  and  the  portraits.  Raphael  Sadeler  died  at 
Venice  in  1616.  The  following  are  his  principal 
plates : 

rORTRAlTS. 
Paul  V. ;  Pont,  jllax. 
S.  Carlo  Borromeo. 
Ernest,  Arc-hbisliop  of  Cologne. 
Leopold  of  Austria,  Bishop  of  Salzburg  aud  Passaa. 
Ferdinand,  Archduke  of  Austria. 
Charles  Emanuel,  Duke  of  Savoy,  on  horseback. 
John  Dietmar,  Abbot  of  Fiirstenberg. 
Hypolitus  Guarinonius,  M.  D. 

SUBJECTS   AFTER   VAKIOUS   MASTERS. 

A  set  of  four  plates  from  the  Life  of  the  Virgin ;  from 
his  own  designs. 

Twenty-eight  plates  from  the  Life  aud  Passion  of 
Christ ;  the  same. 

Mary  Jlagdalene  at  the  Sepulchre,  with  St.  Peter  and 
St.  Johu  ;  after  J.  de  Wimjhe. 

Lot  aud  his  Daughters  ;  afttr  the  same. 

The  Holy  Family,  with  St.  Elizabeth  and  St.  John; 
after  Johann  ton  Aachen. 

The  Entombment  of  Christ ;  after  the  same. 

The  dead  Christ  in  the  Sepulchre,  with  Angels;  after 
the  same. 

Mary  Magdalene  penitent ;  after  the  same. 

The  Judgment  of  Paris  ;  after  the  same  [dated  1579]. 

The  Virgin  and  Child  ;  after  Fitter  de  IVitte.     1593. 

Tiie  Immaculate  Conception  ;  after  the  same. 

The  Presentation  in  the  Temple  ;  after  the  same.    1591. 

The  Resurrection  of  Lazarus  ;  after  Rottenhamer. 

The  Marriage  of  St.  Catherine  ;  after  Hendrik  Goltzius. 

A  Pieta  ;  after  J.  Stradanus. 

Death  seizing  a  Lady  at  a  Feast ;  after  the  same. 

The  Crucifixion  ;  after  Falma. 

The  Virgiu  and  Child;    after  An.  Carracci. 

The  Holy  Family,  witli  St.  John ;   after  Raphael. 

The  Aunuuciatiou  ;  after  Federigo  Zitccaro. 

The  Adoration  of  the  Magi ;  after  Bassano.     1598. 

Christ  at  Enimaus;  after  the  same;  one  of  the  three 
Sadeler'S  Kitchens. 

The  Four  Seasons  ;  after  J.  Stradanus. 

A  set  of  si,^  Landscapes ;  after  P.  Steevens. 

Two  Landscapes  with  figures  ;  after  Matt.  BriU. 

The  history  of  the  Prodigal  Son ;  in  four  scenes  after 
Paul  Brill. 

A  set  of  prints  for  Eader's  Bavaria  Sancta  et  Fia,  en- 
graved with  the  help  of  his  son  (1624-8). 

Several  Allegorical  subjects ;  after  Martin  de  1'os. 

The  great  Battle  of  Prague,  in  eight  sheets  ;  considered 
his  masterpiece. 

Venus  and  Adonis ;  after  Titian. 

SADELER,  Raphael,  the  younger,  son  and  pupil 
of  the  last-named,  worked  at  Venice  subsequent  to 
the  year  1596.  He  afterwards  accompanied  his 
father  to  Munich,  and  assisted  in  the  plates  to 
Rader's  '  Bavaria  Sancta  et  Pia,'  and  also  produced 
several  plates  on  his  own  account,  among  them  the 
following : 

The  Annunciation  ;  after  C.  Schwarz. 

The  Virgin  aud  St.  Anne  caressing  the  Infant  Jesus ; 
after  the  same. 

The  Holy  Family,  with  his  name  and  the  date  1613. 

Forest  Scenery  ;  after  J.  Brueghel. 

SADELER,  Tobias,  supposed  to  be  the  son  of 
Gillis,  was  also  an  engraver,  but  his  works  are 
very  little  known.  He  worked  at  Vienna  about 
the  year  1675.  I 


SADLER,  Thomas,  portrait  and  miniature 
painter,  was  the  son  of  a  Master  in  Chancery.  He 
practised  in  the  reigns  of  Charles  II.,  James  II., 
William  III.  His  best  works  are  a  portrait  of 
Bunyan,  which  has  been  engraved  in  mezzotint, 
and  a  miniature  of  the  Duke  of  Monmouth. 

SADLER,  William,  a  portrait  painter,  the  son 
of  a  musician,  was  born  in  England,  but  studied 
and  practised  at  Dublin.  He  was  an  artist  of 
some  ability,  and  died  at  Dublin  at  the  end  of  the 
18th  century. 

SAENREDAM,  Joannes,  a  Dutch  designer  and 
engraver,  born  at  Zaandam  in  North  Holland   in 
1565,  was  by  trade  a  basket-maker,  and  was  iu- 
.structed  in  drawing  and  the  use  of  the  graver  by 
Hendrik  Goltzius  and  Jakob  de  Gheyn.     Saenredam 
died  at  Assendelft  in  1607.     He  worked  entirely 
with  the  graver,  and  has  left  a  great  number  of 
plates.     The  best,  perhaps,  are  the  following: 
Susanna  and  the  Elders  ;  after  a  design  by  himself. 
Hercules  between  Minerva  and  Venus  ;  ditto. 
Lycurgus  giving  Laws  to  the  Lacedemonians  ;  ditto. 
The  Wise  and  the  Foolish  Virgins,  in  five  plates.    1606  ; 

ditto. 
An  Allegory  relative  to  the  government  of  the  Low 

Countries  by  the  Infanta  Isabella.     1602  ;  ditto. 
The  Prosperity  of    the  United  ProWnces  under   the 

House  of  Orange  ;  an  allegory.     1600  ;  ditto. 
The  stranded  Whale,  on  the  coast  of  Holland.     1602 ; 

ditto. 
Carel  van  Mander ;  after  Goltzius. 
P.   H.   Hornanus,    Poet    and    Physician ;    after     Van 

Mander. 
John  Cesaree,  Pliilosopher. 
Jean  de  la  Chambre,  Writing-master. 
Adiim  and  Eve  iu  Paradise  ;  after  H.  Goltzius. 
Lot  and  his  Daughters  ;  after  the  same. 
Judith  with  the  Head  of  Holoferues ;  after  the  same. 
Susanna  and  the  Elders  ;   after  the  same. 
Ceres,  Venus,  and  Bacchus ;   aftei'  the  same. 
The  Seven  Planets,  the  Four  Seasons,  the  Five  Senses, 
the  Four  .\ges,  the  Three  Marriages  at  ditf erent  times 
of  life  ;  all  after  the  same. 
The  Bath  of  Diana ;  after  the  same. 
A  set  of  six  plates  from  the  History  of  Adam  and  Eve ; 

after  Ab.  Bloemaert. 
Four  plates  from  the  Histories  of  Elijah  and  Elisha ; 

after  the  same. 
Elijah  and  the  Widow  of  Sarepta ;  after  the  same.   160 1. 
Annunciation  to  the  Shepherds  ;  after  the  same.     1599. 
The  Prodigal  Sou  ;  after  the  same.     1618. 
Vertumnus  aud  Pomona ;  after  the  same.     1605. 
Mars  and  Venus  ;  after  P.  Isaacx. 

Judith  with  the  Head  of  Holofernes ;  after  L.  van  Leyden, 
David  with  the  Head  of  Goliah ;  after  the  same. 
The  Nativity  ;  after  C.  van  Mander. 
Paul  aud  Baruabas  ;  after  the  same. 
Adam  and  Eve  in  Paradise ;  after  Corn,  van  Haarlem. 
St.  John  preaching  in  the  Wilderness ;  after  the  same. 
Angelica  aud  Me<lora  ;  after  the  same. 
Vertnmnus  and  Pomona  ;  after  the  same. 
The  Grot  of   Pluto;  inscribed  Lux  venit  in  mundum, 

kc. ;  after  the  same. 
The  Death  of  Epamiuondas  ;  after  P.  da  Caravaggio. 
CamiUus  breaking  the  Treaty  of   Peace   between  the 

Komaus  and  the  Gauls  ;  after  the  same. 
The  History  of  Xiobe  and  her  Children  ;  in  eight  sheets, 

forming  a  frieze ;  after  the  same.     1594. 
The  Entombment  of  Christ ;  after  M.  A.  da  Caravaggio. 
Christ  in  the  Hou.se  of  Levi ;  after  P.  Veronese. 

S.IENREDAM,  Pieter,  son  of  Joannes  Saenre- 
dam, was  born  at  Assendelft  in  1597.  He  was  a 
scholar  of  Franz  Pieterzen  de  Grebber,  but  adopted 
a  different  style  from  that  of  his  master.  He 
painted  architecture,  particularly  the  interiors  of 
churches,  in  a  large  and  luminous  manner.  His 
pictures  were  highly  esteemed  in  his  own  time, 
and  are  now  extremely  rare.  A  view  of  the  Town- 
hall  of  the  city  of  Haarlem,  painted  by  him,  was 

5 


A  BIOGRAPHICAL  DICTIONARY  OF 


enlivened  with  a  great  number  of  figures,  repre- 
senting the  solemn  entry  of  Prince  Maurice.  Few 
particulars  of  him  are  recorded.  He  was  buried 
at  Haarlem  on  the  16th  August,  1605.     Works: 

Amsterdam.       Museum.    Ch.    of    St.    Bavon,  Haarlem. 
1636. 
„  „  Another  Picture  of  the  same 

subject. 
»  „  Two  Views  of  the  Maria-kerk, 

in  Utrecht. 
»  „  View  in  the  Church  of  Assen- 

delft ;  inscribed,  Pieter  Scien- 
redainy  dese yeschildert  int  jaer 
1649  den  2  orioher.  The 
figures  are  by  Ad.  v.  Ostade 

Berlin.  Mitsmm,     Church  Interior. 

Haarlem.  Museum.     Interior  of   St.  Anne's  Church, 

Haarlem. 

IJotterdam.        Museum.     Maria-kerk,  Utrecht. 

SAEY,  ,  a  Flemish  painter,  native  of  Ant- 
werp, practising  in  the  17th  century.  He  painted 
chiefly  architectural  subjects,  and  worked  jointly 
with  Jerome  Janssen,  who  frequently  added  figures 
to  his  backgrounds  for  him.  A  certain  Jacques 
Ferdinand  Saey  is  mentioned  in  the  registers  as  a 
pupil  of  Van  Ehrenberg  in  1672,  and  was  probably 
related  to  the  above,  and  not  identical  with  him, 
as  there  appears  to  be  evidence  that  the  first-men- 
tioned Saey  was  at  work  on  his  own  account  as 
early  as  1060. 

SAFFT,  J.  C.  G.,  a  Dutch  painter  and  engraver, 
of  little  importance,  born  at  Amsterdam,  1778. 
He  was  a  pupil  of  P.  Barbiers,  and  painted  land- 
scape and  interiors. 

SAFTLEVEN,  Cornelius,  (Zachtleven,  S-aft- 
LEBEN,)  painter  and  engraver,  was  born  at  Go- 
riuchem  in  1007  ;  son  of  Herman  and  Lyntgen 
Moelants.  Though  he  did  not  equal  his  brother 
Herman  in  talent,  he  showed  considerable  skill 
in  genre  pictures,  in  the  style  of  Teniers  and  Bron- 
wer.  Several  of  his  etchings  were  published.  His 
portrait  was  painted  by  Vandyke,  and  engraved  by 
Vosterman.  He  died  in  1082.  In  the  Dresden 
Gallery  are  four  examples  of  his  work,  and  in  the 
Amsterdam  Museum,  three.  W.  H.  J.  Wi 

SAFTLEVEN,  Herman,  painter  and  engraver, 
boru  at  Rotterdam  in  1609.  He  was  the  younger 
brother  of  Cornelius  Saftleven,  and  a  pupil  of  Jan 
van  Goyen.  His  views  of  the  Rhine  and  Maas 
are  delicately  painted  from  nature,  and  crowded 
with  figures.  He  died  at  Utrecht,  Jan.  5,  1085. 
His  art,  thougli  conventional,  is  delightful  in  its 
way,  and  his  pictures  are  now  in  great  request. 

Amsterdam.       Jlluseuni.     River  View. 

,j  „  View  on  the  Rhine. 

„  „  Village  on  a  River. 

„  „  Hilly  Land.sc.ape. 

„  „  River  Scene. 

Copenhagen.       Gnlleri/.     AVlLirf  on  the  Rline. 
„  „  Vintage  ou  the  Rliiue. 

„  „  Inn  among  Rocks. 

„  „  Vi.-^ta  through  a  Timber  Bridge, 

„  „  View  of  Utrecht. 

„  ,,  Jleadow-land  at  Harvest-time. 

Dresden.  Gallerij.    A  series  of  eighteen  pictures, 

including  Views  of  Utrecht. 
Eugers,  Ehreubreitstein,  and 
Cologne. 
Haarlem.  Museum.    Jan  Van   Oldenbarnevelt    and 

his  Judges,  the  latter  under 
the  shapes  of  animals. 
London.     Diilicich  Gall.     View  on  the  Rhine,  (.t  masler- 

piece.) 
Munich.  Pinakothek.     A  View  of  the  Rhine. 

„  „  Two  Rhenish  landscapes. 

„  „  One  Dutch  landscafie. 

6 


Rotterdam.         Museum.     View  on  the  Rhine. 
Stockholm.  Gallery.     Large  Rhine  Landscape. 

SAFVENBOM,  Johann,  a  Swedish  painter,  bom 
in  1721.  Pie  studied  for  a  time  in  France,  under 
Joseph  Vernet.  In  the  Stockholm  Gallery  there  is 
a  'Shipwreck  near  a  Fortress'  by  him.  He  died 
in  1781. 

SAGLIO,  Camille,  French  painter;  born  at 
Strnsburg  in  1804  ;  became  a  pupil  of  Jolivard 
and  of  C.  Roqueplan  ;  achieved  success  with 
various  landscapes,  his  subjects  being  chosen 
from  the  scenery  of  the  Rhine  and  the  Rhone.  He 
obtained  a  second-class  medal  at  the  Salon  in  1846. 
He  died  in  October  1889. 

SAGRESTANI,  Giovanni  Camillo,  a  Florentine 
painter  and  poet,  born  in  1660,  studied  painting  in 
tlie  school  of  Giusti,  and  also  attended  that  of 
Carlo  Cignani,  whose  manner  he  copied  rather  than 
emulated.     He  died  in  1731. 

SAGSTATTER,  Gottfried  Heinrich,  German 
painter  ;  born  at  Munich  in  1811,  where  he  studied 
at  the  Academy,  being  a  pupil  and  proUg^  of 
Cornelius.  After  devoting  his  talent  to  allegorical 
and  historical  subjects  he  made  a  greater  success 
by  a  vivid  portrayal  of  Bavarian  peasant  life, 
such  as  '  Bauemwirtstube,'  'Dorfpolitiker,' 'Alter 
Fiedler,'  and  others.  He  died  at  Munich,  December 
25,  1883. 

SAGSTATTER,  Hermann,  German  painter; 
born  at  Munich  in  1808  ;  became  a  pupil  of  the 
Munich  Academy  ;  at  first  painted  genre  pictures 
and  scenes  of  peasant  life,  but  subsequently  pro- 
duced works  of  a  religious  character  and  altar- 
pieces  for  churches  in  Bavaria  and  Suabia.  He 
designed  the  four  glass  windows  showing  the 
Prophets  in  the  Cathedral  at  Cologne  ;  and  there 
are  frescoes  by  him  in  the  Landsberg  Town  Hall. 
He  died  in  1887. 

SAHLEU,  Louis,  (Saillar,)  an  engraver,  was 
born  in  France  in  1748.  He  engraved  some  plates 
for  the  Boydells,  among  them  the  following : 

Portrait  of  Helena  Forman  ;  after  Rubens. 
The  Prince  of  Orange ;  after  Honthorst. 
The  Birth  of  Bacchus  ;  after  Reynolds. 
The  Toper ;  after  G.  Don. 
George,  Prince  of  Wales  ;  after  John  Smart. 
The  Virgin  and  Child  ;  after  Domentchino. 

SAHLER,  Otto  Christian,  an  obscure  engraver, 
whose  name  is  affixed  to  a  portrait  of  one  Adrian 
Stalbent,  a  painter.  He  was  a  German  goldsmith, 
and  lived  in  the  18th  century.  His  plates  were 
imitations  of  drawings. 

SAILLANT,  LE  P6re,  an  Augustine  monk  of 
the  16th  century,  nincli  esteemed  forthe  excellence 
of  his  miniatures.     He  died  at  Avignon. 

SAILMAKER,  Isaac,  an  English  painter  of 
marine  subject.'!,  born  in  England  in  163.3,  was  a 
pupil  of  George  Geldorp,  and  was  appointed  by 
Cromwell  to  paint  a  view  of  the  fleet  before  Mar- 
dyke.  Walpole  says  that  "  a  print  of  the  con- 
federate fleet,  under  Sir  George  Rooke,  engaging 
the  French  commanded  by  the  Count  de  Toulouse, 
was  engraved  in  1714,  from  a  design  of  Sailmaker." 
He  lived  to  the  age  of  88,  dving  in  1721. 

SAINT  ANDRE,  Simon  Renakd  de,  a  portrait 
painter,  bom  in  Paris  in  1614,  was  a  pupil  of 
Beaubrun,  and  settled  at  Rome.  He  painted  two 
very  good  portraits  of  Anne  of  Austria.  He  died 
in  Paris  in  1677.     He  has  left  several  etchings. 

SAINT-AUBERT,  Antoine  Francois,  painter, 
was  born  at  Cambrai  in  1715.     He  was  educated  in 


PAINTERS  AND  ENGRAVERS. 


Paris,  at  the  expense  of  the  Archbishop  of  Saint- 
Albin,  and  afterwards  became  the  first  master  of  the 
Cambrai  School  of  drawing.  The  Musees  of  Cambrai 
and  Lisle  possessed  examples  of  his  work.  He 
died  in  the  former  city  in  1788.  His  son,  LouiS 
Joseph  Nicolas,  also  a  painter,  succeeded  to  his 
fatlier's  post.  He  was  born  in  1755,  and  died  in 
1810.  There  is  a  '  Christ  in  the  Tomb  '  by  him  in 
the  Cambrai  Museum.  By  ANTOINE-Lonis  Saint- 
AuBERT,  son  of  Louis  Joseph  Nicolas,  there  is  a 
'  Norman  Coast  Scene,'  in  the  same  collection.  He 
was  born  in  1794,  and  died  1854. 

SAINT-AUBIN,  Augustin,  engraver,  born  in 
Paris  in  1736,  was  taught  drawing  by  his  brother 
Gabriel,  and  engraving  by  Etienne  Fessard  and 
Laurent  Cars.  He  engraved  'Leda  with  the  Swan,' 
after  Veronese,  and  'Venus  with  a  Mussel-shell,' 
after  Titian,  and  more  than  300  portraits  of  the 
famous  men  of  his  day.     He  died  in  1807. 

SAINT-AUBIN,  Charles  Gerjjain  de,  a  French 
engraver,  was  born  in  Paris  in  1721.  He  was  the 
author  of  three  series  of  plates  known  respectively 
as  'Essais  de  Papillonneries  humaines,'  '  Mes  petits 
bouquets,'  and  '  Les  Fleurettes.' 

SAINT-AUBIN,  Gabriel  Jacques  de,  brother  of 
the  last-named,  was  born  in  Paris  in  1724.  He  was 
a  pupil  of  Jeaurat,  Collin  de  Vermont,  and  Boucher. 
He  painted  first  heroic  and  then  domestic  subjects, 
and  has  left  forty-three  etchings.  He  died  in  1780. 
His  brother  Louis-MiCHEL,  also  a  painter,  was  em- 
ployed at  Sevres. 

ST.  AUBYN,  Catherine,  is  the  author  of  some 
etchings  dated  from  1788  to  1798.  Two  drawings 
by  her  of  St.  Michael's  Mount  have  been  engraved. 

SAINT-AULAIUE,  FiiLix  Achille,  painter,  a 
native  of  Piedmont,  born  1801.  He  studied  under 
the  elder  and  younger  Garneray,  and  practised  in 
France.  He  chiefly  devoted  himself  to  marine 
subjects.  He  last  appeared  at  the  Salon  in  1838. 
He  is  also  known  as  a  lithographer. 

SAINT-:fcVE,  Jean-Marie,  engraver,  born  at 
Lyons  on  the  9th  Jane,  1810.  He  studied  first  at 
Lyons  under  V.  Vibert,  and  subsequently  in  Paris 
under  Richonnne,  and  at  the  Ecole  des  Beaux  Arts. 
In  1840  he  gained  the  '  Prix  de  Rome,'  and  in  1848 
a  medal  of  tlie  first  class.  He  engraved  some  im- 
portant plates,  and  died  at  Montmartre,  September 
4th,  1856.     Among  liis  best  plates  are  : 

Portrait  of  Auilrea  del  Sarto  ;  after  that  master. 
Poetry  ;  after  Raphael. 
Theology;  after  the  same. 

Pamphlet  notices  of  his  life  and  works  were  pub- 
lished at  Lyons  by  J.  S.  Bourgeois  in  1860,  and  by 
Dr.  Charles  Fraisse  in  1862. 

SAINT-EVRE,  Gillot,  painter,  born  at  Bault- 
sur-Snippe,  Marne.  He  was  for  a  time  an  officer 
of  artillery,  but  gave  up  military  life  to  devote 
himself  to  art.  He  was  a  frequent  exhibitor  at  tlie 
Salon,  and  died  in  Paris  in  1858.  There  are  examples 
of  his  work  at  Versailles. 

SAINT-IGNY,  Jean  de,  a  painter  and  engraver 
of  Rouen,  who  flourished  at  the  end  of  the  16th 
century.  He  wrote  a  book  on  the  first  elements  of 
portrait  painting,  and  died  in  1649. 

SAINTIN,  Jdles  Emile,  French  painter  ;  born 
August  14,  1829  ;  became  a  pupil  of  Drolling,  Le 
Boucher,  Picot,  and  the  Ecole  des  Beaux  Arts. 
For  over  ten  years  he  lived  in  America,  and  made 
a  special  study  of  the  Indians  and  their  ways  and 
customs.  Mainly  a  portrait-painter  and  pnstellist, 
though  occasional  genre  and  allegorical  subjects 
were  successfully  portrayed  by  him.     In  1866  and 


1870  he  obtained  medals,  and  the  Legion  of  Honour 
in  1877.     He  died  July  14.  1894. 

SAINT-JEAN,  Simon,  flower-painter,  was  bora 
at  Lyons  in  1808,  and  educated  there  under  Fran9oi3 
Lepage.  He  took  Van  Huysum  as  his  model,  and 
rivalled  his  truth  to  nature.  He  died  at  EcuUy- 
Lyon,  in  1860.  Examples  of  his  art  are  to  be 
found  in  the  Museums  of  Rouen  and  Lyons. 

SAINT-NON,  Abb^  de,  Jean-Cladde-Richard, 
draughtsman  and  etcher,  born  in  Paris  in  1730. 
His  love  for  art  induced  him  to  sell  his  ofiice  in  the 
Legislative  Assembly,  and  to  undertake  a  journey  of 
some  duration  in  Italy  for  the  purpose  of  making 
studies  from  the  old  masters.  Many  of  these  he 
etched  on  his  return  to  Paris.  He  brought  out  a 
'  Voyage  pittoresque  d'ltalie  et  des  Royaumes  de 
Naples  et  de  Sicile,'  with  many  plates,  and  also  pub- 
lished a  series  of  nineteen  sheets  of  antique  orna- 
ments and  furniture,  which  had  a  favourable  influ- 
ence upon  decorative  taste  in  France.  He  usually 
signed  his  plates  S.  N.,  or  S.  No.     He  died  in  1804. 

SAINT-OURS,  Pierre  Paul  de,  painter,  was 
born  at  Geneva  in  1752.  His  father,  a  drawing 
master,  sent  him  to  Paris,  where  be  entered  the 
school  of  Vien,  and  in  1780  gained  the  Prix  de 
Rome  with  his  picture  of  the  '  Rape  of  the  Sabines.' 
Being  however  a  Protestant  and  a  foreigner  he  was 
not  entitled  to  the  pension,  but  was  allowed  to 
proceed  to  Rome  some  years  later,  under  certain 
conditions.  Owing  to  bad  health  he  returned  to 
his  own  country,  where  he  devoted  himself  to  por- 
trait painting.  In  1803  he  won  the  only  reward 
given  by  the  French  Government  in  a  competition 
set  afoot  by  themselves,  for  the  best  picture  on  tlie 
subject  of  the  '  Concordat.'  His  works  are  chiefly 
to  be  found  at  Geneva.  He  died  at  Schaffhausen 
in  1809. 

SAINT  QUENTIN,  a  French  painter,  and  pupil  of 
Boucher,  who  flourished  between  1760  and  1780, 
and  painted  landscapes  and  genre  pictures. 

SAINT-YVES,  Pierre  de,  historical  painter, 
born  at  Maubert-Fontaine  in  1666.  He  became  an 
Associate  of  the  Academy  in  1708,  his  entrance 
picture  being  'Jephthab's  Sacrifice'  (now  in  the 
Tours  Museum).  He  died  in  Paris,  March  20, 
1716. 

SAITER,  Daniel,  (Seiter,  Seuter,  Syder,) 
painter,  was  born  at  Vienna  in  1642  (1647).  He 
went  to  Italy  when  he  was  very  young,  and  studied 
for  some  years  at  Venice,  under  Carlo  Loth.  From 
V'enice  he  went  to  Rome,  where  he  studied  under 
Carlo  Maratti.  He  was  afterwards  invited  to  the 
court  of  Turin,  where  he  painted  many  pictures, 
among  them  the  fresco  in  the  Cupola  of  the  Spedal 
Maggiore.  Examples  of  his  work  are  also  to  be 
found  at  Brunswick,  Dresden,  and  in  the  Turin 
Gallery.     He  died  at  Turin  in  1705. 

SAITER,  Johann  Gotfried,  (Seiter,  or 
Seuter,  Syder,)  a  German  draughtsman  and  en- 
graver, born  at  Augsburg  in  1718.  He  was  in- 
structed by  J.  E.  Ridinger  and  G.  M.  Preissler. 
He  lived  some  years  in  Italy,  but  died  in  the 
hospital  at  Augsburg  in  1800.     Works: 

Portrait  of  John  Kupetzlty,  Painter. 

George  Philip  Eugendas,  Battle  Painter. 

Abraham  sending  away  Hagar  ;  after  Celesti. 
A  Holy  Family  ;  after  Andrea  del  ^arto. 
Christ  with  Martha  and  Mary  ;  after  L.  da  Vinci. 
The  Adulteress  before  Christ ;  after  Procaccini. 
The  Marriage  at  Cana;  after  P.  Veronese. 
The  Flight  into  Egypt ;  after  Albano. 
SAIVE,   John  Baptist  de,  born  at  Namur  in 
1540,  died  April  6,  1624.     He  left  Namur  after 

7 


A  BIOGRAPHICAL  DICTIONARY  OF 


1578,  settled  at  Brussels,  and  was  official  painter 
to  the  Duke  of  Parma.  In  May  1590  he  was  again 
at  Namur.  In  1603  he  settled  at  Mechlin,  became 
a  member  of  the  Guild  of  St.  Luke,  and  worked 
there  until  bis  death.  In  1594  be  painted  for  the 
Archduke  six  pictures  represeiitingtbe  four  seasons, 
and  market-pieces,  for  which  be  was  paid  224 
florins  ;  and  in  1597  a  figure  of  Christ  on  the  cross 
for  the  Town  Hall  of  Nainur,  for  which  he  received 
£40.  During  the  last  twenty  years  of  his  life  he 
painted  many  altar-pieces  for  churches  at  Mechlin 
and  in  the  neighbourhood.  His  style  was  greatly 
influenced  by  Lambert  Lombard. 

Namur.  Museum.     Shutters  of  a  triptych,  1576. 

Mechlin.  Cathedral.     David  overcoming  Goliath. 

,,  ,,  The     Baptism     of     Christ 

(sii/ned  ;  his  best  ijcork). 
„  Our  Lady  on  \  Triptych  :  Episodes  in  the 

the  Dyle.  J      life    of    St.      Katherine 
(signed).       W.  H.  J.  W. 

SALA,  George  Adqustus,  was  born  in  New 
Street,  Manchester  Square,  London,  on  Nov.  24, 
1828.  From  1839  to  1842  he  was  at  school  in 
Paris,  and  showed  great  aptitude  for  drawing.  At 
the  age  of  fourteen  he  was  sent  to  study  under 
Carl  Schiller,  a  miniature  painter  in  Charlotte 
Street,  Fitzroy  Square.  When  fifteen  he  was 
thrown  on  bis  own  resources,  and  from  1845  to 
1848  earned  bis  living  by  painting  scenery  at  the 
Princess'  and  the  Lyceum  Theatres.  In  1847  he 
illustrated  Alfred  Bunn's  '  Word  with  Punch,'  and 
in  1848  Albert  Smith's  'The  Man  in  the  Moon.' 
He  then  learned  the  art  of  etching,  and  in  1850 
illustrated  a  comic  guide-book,  published  by 
Ackermann,  with  the  title  '  Practical  Exposition 
of  J.  M.  W.  Turner's  Picture,  Hail,  Rain,  Steam 
and  Speed  ' ;  while  later  in  the  year  liis  panorama 
entitled  '  No  Popery '  was  issued  by  the  same  pub- 
lisher. In  the  following  year  Sala  drew  four  litho- 
graphic plates  with  views  of  the  Great  Exhibition, 
and  in  1852  engraved  with  Henry  Aiken,  junior,  a 
long  panoramic  roll  representing  the  procession  at 
the  Duke  of  Wellington's  funeral.  After  this  time 
his  work  as  an  artist  seems  to  have  ceased,  and  he 
devoted  himself  entirely  to  the  journalistic  work 
which  made  the  initials  G.  A.  S.  so  famous.  As  art 
critic  of  the  '  Daily  Telegraph '  and  other  papers 
he  wrote  extensively  on  matters  connected  with 
art,  and  used  his  influence  for  its  true  development. 
After  being  for  thirty  years  perhaps  the  most 
prominent  journalist  of  his  day,  Sala  died  after  a 
long  illness  on  December  8,  1895.  M,  H. 

SALA,  ViTALE,  painter,  was  born  at  Cernusco, 
near  Brienz,  in  1803,  and  educated  at  Brera,  where 
he  painted  the  '  Death  of  Cato ' ;  the  '  Death  of 
Romeo  and  Juliet '  ;  and  the  '  Farewell  of  Regulus.' 
There  are  also  works  by  him  in  the  churches  of 
Vigevano,  Novara,  Bosisio,  Desio,  and  in  those  of 
St.  Stefano,  St.  Lazzaro,  and  St.  Catharine,  at  Milan. 
He  died  at  Milan  in  1835. 

SALAI,  Andrea  (Salaino,  Salario).  As  the 
favourite  pupil  and  constant  companion  of  Leo- 
nardo da  Vinci,  Andrea  Salai  is  a  very  distinct 
personality,  but  his  artistic  achievements  remain 
obscure.  The  late  M.  E.  Mtiiitz  discovered  in 
some  documents  on  Hungarian  history  a  certain 
archer,  Andrea  Salai,  who  in  1461  was  at  Brindisi 
in  the  service  of  Naples.  The  similarity  of  name 
and  correspondence  of  date  give  rise  to  the  pre- 
sumption that  this  Andrea  Salai,  the  archer,  may 
have  been  the  father  of  the  artist.  The  first 
reference  to  him,  however,  occurs  in  1495  ;  in  1503 


there  is  an  entry  in  Leonardo's  accounts  of  a  sura 
for  shoes ;  whilst  later  on  the  generous  painter 
provided  the  money  for  his  sister's  dower.  In 
January  1505  Salai  manifested  a  keen  desire  to  do 
"qualche  cosa  galaute"  for  Isabella  d'Este,  but  the 
otter  was  not  accepted.  The  Marcbeaa's  Florentine 
correspondents,  however,  recommended  that  Salai 
should  advise  on  the  valuation  of  Perugino'e 
picture,  '  The  Combat  of  Love  and  Chastity ' 
(Louvre),  painted  for  her  palace  at  Mantua.  When 
Leonardo  went  to  Rome  in  1514,  he  (Salai)  accom- 
panied him,  but  refused  to  follow  his  master  to 
France,  choosing  rather  to  remain  in  his  house 
outside  Milan.  Half  of  this  same  property  was 
bequeathed  to  him  by  Leonardo,  but  bis  ultimate 
fate  and  the  time  of  his  death  is  not  known. 
The  master,  out  of  affection  for  his  pupil,  is 
said  to  have  frequently  put  the  finishing  touches 
to  the  latteHs  feebler  efforts,  and  also  allowed 
him  to  make  use  of  his  own  cartoons.  It  is 
generally  considered  that  the  hand  of  Salai 
appears  in  those  pictures  where  rosy  tones  and 
heavy  brown  shades  predominate.  For  this  reason 
the  '  Madonna  in  the  lap  of  St.  Anne '  (Louvre), 
catalogued  as  a  genuine  work  of  Leonardo,  is  now 
frequently  attributed  to  his  pupil.  Three  well- 
known  replicas  of  this  picture  exist  :  in  the  Her- 
mitage (St.  Petersburg),  in  St.  Eustorgio  (Milan), 
and  at  Madrid.  The  first  of  these  examples  is 
generally  assigned  to  Salai,  to  whom  also  are 
attributed  : 

The  Madonna  with  Saints.     (Brira.) 

Christ  bearing  the  Cross.     {Berlin.)  A.  W. 

SALAMANCA,  Antonio,  a  very  celebrated  pub- 
lisher and  dealer  in  prints,  flourished  about  the 
middle  of  the  16th  century.  He  is  the  supposed 
engraver  of  a  plate  after  Michelangelo's  '  Pietk,'  on 
which  is  inscribed  Antoniiis  Salamanca  Quod 
Potuit  Imitatus  Exsculj^it,  1.5.4.7.  This  is  the 
only  direct  piece  of  evidence  that  he  practised  en- 
graving, but  two  more  plates  have  been  ascribed 
to  him :  a  portrait  of  Baccio  Bandinelli,  1545,  and 
the  '  Creation  of  Animals,'  after  Raphael,  1548.  All 
the  other  prints  with  his  name  have  exctidebat,  or 
exmdit,  instead  of  exsculpsit. 

SALAMANCA,  Geronimo  de,  a  painter  of  the 
16th  century,  practising  at  Seville. 

SALAZAR,  Juan  de,  a  skilful  illuminator  of  the 
16th  century.  He  is  chiefly  known  by  his  work 
fur  the  choir-books  of  the  Escurial,  and  for  the 
mass-books  of  Toledo.  His  drawing  was  remark- 
able for  its  delicacy  and  precision,  and  bis  colour 
for  its  brilliance.     He  died  at  Toledo  in  1604. 

SALERNO,  Andrea  da.    See  Sadattini. 

SALIBA,  Antonello  da,  a  Sicilian  painter,  who 
lived  in  the  early  part  of  the  16th  century,  and 
adopted  the  method  which  Antonello  da  Messina 
is  said  to  have  introduced  into  Italy. 

SALIMBENI,  Arcangelo  di  Leonardo,  a  Sienese 
master  of  the  latter  half  of  the  sixteenth  century, 
who  seems  to  have  belonged  to  the  celebrated 
family  of  that  name,  but  is  himself  chiefly  known 
from  his  friendship  with  Federigo  Zuccaro,  whose 
influence  is  observable  in  his  work,  and  from 
having  been  the  master  of  his  more  celebrated  son, 
Ventura,  and  stepson,  Francesco  Vanni.  He  com- 
pleted a  '  Nativity '  left  unfinished  by  Bartolommeo 
Neroni  (il  Biccio)  in  the  church  of  the  Carmine  at 
Siena,  and  painted  pictures  for  the  Confraternities 
of  San  Bernardino,  Sta.  Lucia,  and  Sta.  Caterina- 
in-Fontebranda.  On  April  20,  1567,  he  married 
Battista,  widow  of  Eugenio  Vanni,  mother  of  the 


PAINTERS  AND  ENGRAVERS. 


painter  Francesco  Vanni,  and  daughter  of  Giuliano 
Morelli,  the  Sienese  goldsmith,  so  well  known  as 
the  friend  of  Vasari  and  Beccafumi.  The  most 
conspicuous  works  of  this  master  are  the  '  Death 
of  St.  Peter  Martyr,'  in  the  cliurch  of  S.  Domenico 
at  Siena,  painted  in  1579,  and  a  '  Crucifixion,  with 
SS.  Mary  Magdalen,  Koch,  and  Francis,'  in  tlie 
parish  church  of  Lucignano  at  Val  d'Arbia.  A 
lunette  over  the  door  of  the  suppressed  convent  of 
Monagnese,  and  a  painting  in  the  ante-room  of  the 
chapel  of  SS.  Giovanni  and  Gennaro  at  Siena  are 
also  by  him.     He  died  in  1680.  R.  H.  H.  C. 

SALIMBENI,  SiMONDio  di  Ventura,  was  born 
in  1697,  and  studied  under  his  father  until  the 
death  of  the  latter,  which  occurred  wlien  he  was 
sixteen  years  of  age.  He  then  entered  the  studio 
of  Rutilio  Manetli,  whose  influence  was  strong 
enough  to  efface  his  earlier  training,  and  to  become 
so  marked  that  the  pupil's  work  has  not  infrequently 
been  attributed  to  the  master.  A  contemporary 
with  Stefano  Volpi,  Ilario  Casolani,  Astolfo  Pe- 
trazzi,  Stefano  Folli,  and  others  of  the  late  Sienese 
School,  he  was  employed  in  company  and  in 
rivalry  with  them  in  decorating  many  of  the 
churclies  and  chapels  of  Siena.  In  1619  lie 
married  Teodora,  daughter  of  Ascanio  Vettori,  who 
brought  him  a  dowry  of  700  florins,  and  by  whom 
he  had  two  children :  Isabella,  who  on  June  14, 
1646,  married  in  the  church  of  S.  Pietro  Ovile — 
with  a  dowry  of  350  florins — Giovan  Maria  Sarti  ; 
and  Ventura,  concerning  whom  but  one  document- 
ary notice,  dated  1660,  is  extant,  and  with  whom 
apparently  this  branch  of  the  SaHmbeni  family 
died  out.  Simondio  appears  to  have  resided  from 
August  1622 — 1625  in  a  house,  for  which  he  paid 
264  lire  rent,  near  tlie  Fonte  di  S.  Francesco,  in 
the  parish  of  S.  Pietro  Ovile,  and  it  was  for  this 
church  that  he  painted  a  '  Death  of  St.  Joseph,' 
still  in  the  sacristy  there.  Documentary  notices 
exist  with  reference  to  him  in  the  years  1626, 1627, 
1629,  and  1634.  In  1632,  dissatisfaction  arising 
with  regard  to  a  commission  executed  by  him  in 
the  lower  chapel  of  Sta.  Caterina-in-Fontebranda 
(Contrada  del  Oca),  he  was  involved  in  a  lawsuit 
which  lasted  until  1642.  This  was  finally  decided 
against  him,  and  his  work  was  ordered  to  be 
painted  out.  He  died  suddenly  in  1643,  and  was 
buried  on  September  8  in  his  parish  church  above 
mcntioiied.  He  appears  also  to  have  borne  the 
additional  name  of  BevilacQUA,  with  which  he 
signs  one  of  the  five  frescoes  by  him  in  the  churcli 
of  S.  Rocco  (Contrada  della  Lupa),  in  Via 
Vallerozzi,  Siena.  R.  II.  H.  C. 

SALIMBENI,  Ventura  di  Aroanqelo,  son  of 
Arcangelo  Salimbeni  by  Battista  Morelli,  widow  of 
Engenio  Vanni,  was  born  in  January  or  February 
1668,  christened  under  the  names  of  Alessandro 
Ventura,  and  confirmed  at  the  age  of  eight  on 
June  12,  1676.  Together  with  his  half-brother, 
Francesco  Vanni,  he  learnt  the  principles  of 
painting  under  his  father.  At  his  father's  death 
he  travelled  to  Lombardy,  and  studied  there  the 
work  of  Correggio.  In  1585  he  executed  for  the 
facade  of  the  church  of  S.  Giorgio  at  Siena,  from 
the  design  of  his  half-brother,  the  striking  figure 
of  the  patron  saint,  now  preserved  in  the  sacrist}'. 
In  that  same  and  the  following  years  he  was  at 
Rome,  painting  various  works.  In  1591  he  married 
at  Rome  Antonia  Focari,  and  in  the  next  year 
painted  some  scenes  from  the  '  Life  of  the  Virgin ' 
in  Sta.  Maria  Maggiore,  and  other  works  in  Sta. 
Maria  della  Pace.     In  1595  he  returned  to  Siena, 


and  in  1597  was  employed  to  restore  Sano  di 
Pietro's  beautiful  '  Coronation  of  the  Virgin '  in 
the  Palazzo  Pubblico.  In  1599  he  was  working  at 
Montalcino  in  the  church  of  S.  Pietro,  and  in  1600 — 
1601  he  was  invited  by  Cardinal  Bonifazio  Bevil- 
acqua,  of  Ferrara,  papal  legate,  to  Perugia  to 
execute  certain  works  in  the  church  of  S.  Pietro  in 
Cassinense.  These  works  so  pleased  His  Eminence 
that  he  conferred  upon  the  artist  the  title  of  Knight 
of  the  Golden  Spur,  and  permitted  him  to  assume 
his  own  surname  ;  wherefore  he  not  infrequently 
styles  himself  Ventura  Bevilacqua  Salimbeni.  At 
this  time  he  also  carried  out  some  decorative  work 
in  S.  Maria  degli  Angeli,  near  Assisi.  In  1602 
he  completed  tlie  ceiling  of  the  chapel  of  the  SS. 
Triniti  at  Siena,  and  of  the  Sala  Grande  of  the 
Knights  of  S.  Stefano  at  Pisa.  In  the  following 
year  he  painted  a  figure  of  '  Pisa  Personified '  in 
the  Sala  Grande  of  the  Palazzo  Communale  of  that 
city.  From  thence  he  went  to  Rome  and  worked 
in  the  church  of  the  Gesii,  .ind  then  returning  to 
Siena  carried  out  a  number  of  commissions  in 
various  churches  there.  In  1605  and  1608  he  was 
at  work,  in  company  with  Bernardino  Poccetti, 
painting  frescoes  in  the  cloister  of  the  church  of 
the  Annunziata  at  Florence,  for  which  works  he 
received  175  scudi.  In  1606  he  painted  a  'Cruci- 
fixion '  for  the  Colorabini  Chapel  in  S.  Domenico 
at  Siena,  and,  assisted  by  his  half-brother,  com- 
pleted a  'Nativity'  for  the  church  of  the  Refugio, 
left  unfinished  by  Alessandro  Casolani,  and  exe- 
cuted other  work  in  the  same  church.  In  1607  he 
was  again  at  Pisa,  working  in  the  churches  of  Sta. 
Cecilia,  S.  Francesco,  and  S.  Frediauo ;  and  in 
1608,  after  visiting  Florence  to  complete  his  work 
in  the  cloister  of  the  Annunziata,  he  returned  to 
Pisa  and  painted  a  picture  of  '  Angels '  for  the 
second  altar  in  the  left  aisle  of  the  Duomo.  By 
October  8  in  that  same  year  he  was  back  in  his 
native  city,  commissioned  to  make  four  frescoes  for 
tlie  choir  of  the  cathedral.  In  1610  he  was  sent  for 
to  Rome  by  Cardinal  Girolamo  Lancellotti  to  paint 
a  '  Circumcision '  for  the  church  of  S.  Simeone 
Lancellotti,  and  on  that  occasion,  through  the  in- 
fluence of  Cardinal  Francesco  Sforza,  of  S.  Flora, 
was  created  a  Knight  of  Christ  by  Pope  Paul  VIII. 
(Borghese).  That  same  year  he  accompanied  his 
friend  Agostino  Tassi,  the  landscape  painter,  to 
Genoa,  where  he  decorated  the  Casa  Adorno  and 
several  of  the  churches  there.  Considering  him- 
self badly  treated,  however,  in  that  city,  he 
returned  home  in  1611,  and  set  to  work  to  finish 
his  Duomo  frescoes,  for  which  he  received  7,000 
lire.  In  1612  he  designed  a  memorial  for  the 
Rectors  of  the  Hospital  of  S.  Maria  della  Scala, 
carried  out  by  the  sculptor  Ascanio  di  Cortona. 
After  completing  other  work  in  his  native  city,  he 
died,  at  the  early  age  of  46,  in  1613,  and,  robed  in 
the  habit  of  a  Knight  of  Christ,  was  buried  on 
November  23  in  his  parish  church  of  the  Madonna 
della  Rosa.  He  was  an  able  draughtsman,  and  a 
painter  of  a  certain  amount  of  merit,  but  careless 
in  his  work  and  too  fond  of  amusement.  He  was 
also  a  clever  engraver,  and  many  examples  of  his 
plates  are  still  extant.  His  wife  appears  to  have 
predeceased  him.  He  had  by  her  seven  children : 
Simondio  (born  1597) ;  Isabella  (born  January  11, 
1598;  died,  anun,September21, 1616) ;  Alessandro 
and  Lucrezia  (twins,  born  March  1,1599;  Lucrezia 
also  became  a  nun  under  the  name  of  Maria 
AngelicadellaConcezione);  Laurenzio (bom  August 
8,  1601) ;  Lucrezio  ;  and  Maddalena  (married  in 


A   BIOGRAPHICAL  DICTIONARY  OF 


1630— witli  a  dowry  of  200  florina— Austino  di 
Vincpnzo  da  Petrojo).  Of  these,  all  except  Isabella 
and  Laurenzio  survived  their  fiilher,  and  were  left 
at  his  death  to  the  care  of  their  maternal  grand- 
mother, Battista  Focari.  Ventura  Salimbeni's 
pupils— besides  his  son  Simondio— were  Giovanni 
Paolo  Pisani,  Sebastiano  Folli,  Bernardino  Capi- 
telli,  and,  at  Genoa,  Ottavio  Ghissoni.  He  had, 
however,  also  certuin  imitators,  among  whom  were 
Alessandro  Albini  of  Bologna  (a  pupil  of  the 
Carracci),  Benedetto  Bandiera  of  Perugia,  and 
Gio.  Battista  Lombardelli  della  Marca,  who,  how- 
ever— having  predeceased  him  in  1587 — might 
be  said  rather  to  have  given  to  than  taken  from 
hira. 

Among  the  vast  quantities  of  frescoes  and  other 
works  left  by  him,  the  following  is  a  fairly  repre- 
sentative list : 

Florence.    Cloistero/theX^^^^^^^^      1605-1608. 

Annunziata.  ) 
Folii^o.  Duomo.     Marriage  of  the  Virgin. 

Genoa.         Casa  Adorno.     Frescoes. 

Ch.  of  S.  Matteo.  Scenes  from  the  Life  of  the 
Saint.  {Ceilinc,  of  fourth 
chapel  to  the  left.) 

„    O'-0/'S.-^™n«s«' I  Frescoes,   (^cloister.) 

Jlontalciuo.       Ck.  of  S.  (The  Gift  of  the  Keys  to  St. 
rietro.  /      Peter.     1599. 
„  Disputa.    1600. 

„  Crucifixion.   1604. 

Perugia.  Ch.of  S.Pietro.     Stories  of  David   and  of   St. 

Gregory  the  Great. 
Pisa.     Palace  of  Knights  I  ^^^^^^^      ^qq^. 
of  S.  Stefano.  j 
„       Palazzo  Pubblico.     Pisa  Personified.    1603.    (Sala 
del  Commune.) 
Duomo.     Angels.     1608.     {Second  altar 
on  the  left.) 
Rome.  Ch.  ofSta.  Maria  \  Scenes  from  the  Life  of   the 
3Iagqiore.  j      Virgin.     1592. 
„      Ch.  ofSta  Maria  (  g    gin^eon  dei  Lancellotti. 

della  Pace,  j 
j^  „  Circumcision.     1610. 

„  Palazzo  Doria.     St.  Jerome. 

Siena.    Ch.  SS.  TrinitA.     Ceiling  and  wall  frescoes.  1595. 
„    Ch.of  the  Santuccio.     Story   of  S.   Galgano.      1612. 

{Choir  of  Angels.) 
„       Ch.  ofS.  Giorgio.     St.   George    (lunette).      1585. 

(Sacristi/.) 
„       Ch.  ofS.  Ansano.     SS.     Ansano      and      Michele 

{faqade). 
„       Ch.  ofS.  Spirito.    Various  Saints,  and   Story  of 

S.  Giacinto. 
„   Ch.of  S.Dornenico.     Cruoifixion.with  various  Saints. 

1606.    {Capella  ColomUni.  ) 
„    Chapel  ofSta.  Cate- 1  Scenes  from  the  Life  of  that 

rina  della  J'olte.j      S'.iint. 
„       Ch.of  S.Quirico.     Madouna.    {Over  the  door .) 

„  Martyrdom  of  SS.  Quirico  and 

"  Giulitta  (fresco).    16oa. 

The  Maries   at  the  Sepulchre 
"  (oil).   1615. 

„  Ch.  of  S.  Lucia.     St.  Lucy,  with  Angels.    (Oivr 

the  door.) 
„  Ch.  of  S.  Paolo.     Sta.  Francesca  Komana.    (Sac- 

risty.) 
,,  Ch.  of  the  /•'t)««e  )  Scenes  from  the  Lives  of  the 

Giusta.)  Virgin,  S.  Bartolommeo, 
and  the  Blessed  Arabrogio 
Sansedoui. 

,    Chapel  of  the  Co«- )  Scenes   from  the   Life  of   St. 
trada  dell'  Oca.  j      Catherine.    1604. 

Compagiiia  di  S.  }  Lu„gtte.  IGOO.  (Lower  chapel.) 
Bernardino,  j 

„  S.  Kocco. 

"  Duomo.     Story  of  Esther. 

„  Saints  (two  frescoes).    1608. 

"lO 


Siena.  Palazzo  Pubblico.     Frescoes.     (Second     room     of 
the  Sindaco's  apartments.) 

R.  H.H.C. 

SALINCORNO,  Mibabello,  called  also  (Javalori, 
flourished  in  1565.  He  was  a  scholar  of  Ridolfo 
Ghirlandajo,  and  was  one  of  the  artists  who  helped 
to  paint  the  catafalque  for  the  obsequies  of  Michel- 
angelo. It  is  uncertain  when  he  died.  Zani  says 
he  was  at  work  in  1578. 

SALINI,  TOMMASO,  Cavaliere,  painter,  born  at 
Rome  in  1570  or  1575,  was  the  son  of  a  Florentine 
sculptor,  who  placed  him  under  the  tuition  of 
Baccio  Pintelli,  an  artist  of  little  note.  He  became 
a  respectable  painter  of  history,  and  also  painted 
flowers  and  fruit  with  considerable  success.  He 
died  at  Rome  about  1630. 

SALIS,  Carlo,  was  born  at  Verona  in  1680,  and 
first  studied  at  Bologna  under  Giuseppe  da  I'Sole, 
but  he  aftenvards  became  a  disciple  of  Antonio 
Balestra,  at  Venice,  whose  style  he  imitated  with 
success.  His  best  picture  is  an  altar-piece  at  Ber- 
gamo, representing  S.  Vincenzio  healing  the  Sick. 
He  died  in  1763. 

SALISBURY,  — ,  was  a  popular  pamter,  living 
in  London  at  the  time  of  the  Restoration.  He  w-as 
a  friend  of  Pepys,  who  mentions  him  several  times 
in  his  Diary,  and  in  1662  writes  that  Salisbury  has 
"grown  in  less  than  two  years'  time  so  great  a 
limner  that  he  is  become  excellent,  and  gets  a  deal 
of  money  at  it." 

SALLAERT,  ANTONIE,  (SALAERT,  OrSALLAERTS,) 

was  bom  at  Brussels  about  the  year  1590.  He 
was  inscribed,  as  an  apprentice,  on  the  corporation 
book  of  the  Brussels  painters  in  1606.  His  master, 
Michael  de  Bordeau,  also  taught  Philippe  de  Cham- 
pagne. Sallaert  was  admitted  master  in  1613. 
Saliaert  enjoyed  the  friendship  of  Rubens,  whose 
pupil  he  is  asserted,  but  without  evidence,  to  have 
been.  He  was  Dean  of  the  Painters'  Guild  in  1633-4, 
1634-5,  1646-7  and  1647-8,  so  that  his  death  can- 
not have  taken  place  prior  to  1648,  but  its  exact 
date  is  unknown.  Pictures  : 
Brussels.  Gallery.    Christ's  Passion  ;  an  allegory. 

„  „  The    Infanta    Isabella    at    the 

Shooting  Feast  of  the'Grand- 
Serment.' 

„  „  The  Procession  of  the '  Pucelles 

du  Sablon.' 
Madrid.  Gallery.    The  Judgment  of  Paris. 

Papillon  mentions  this  artist  as   an  engraver  on 
wood.    He  usually  marked  his  prints  with  the  cipher 

Sometimes  with  the  border,  some- 


times  without.  Brulliot  denies  that  he  engraved 
on  wood ;  but  a  set  of  the  Four  Evangelists  and 
an  '  Ecce  Homo'  bear  his  mark. 

SALLIETH,  Mathias  de,  was  born  at  Prague  in 
1749,  and  was  taught  engraving  by  J.  E.  Mansfeld 
of  Vienna,  and  afterwards  went  to  Paris  and  worked 
under  J.  Ph.  Le  Bas  ;  several  prints  by  him  are 
in  Choiseul-Gouffier's  '  Voyage  pittoresque  de  la 
Grece,'  '  Voyage  pittoresque  en  France,'  and  '  La 
Gallerie  Lebrun.'  Subsequently  he  resided  in 
Holland,  and  employed  himself  on  marine  subjects 
after  his  own  designs,  and  after  pictures  by  Dutch 
masters.  Among  the  best  are,  the  'Battle  of 
Nieuport ' ;  and  three  others,  after  D.  Langendyck  ; 
two  after  Kobell  :  one  after  A.  Storck  ;  and  one 
after  VanderUapelle.   He  died  at  Rotterdam  in  1791. 

SALM,  A.  VAN,  a  Dutch  painter  of  marines  and 
views  in  Holland,  in  black  and  white,  in  imitation 
of  pen-drawings.  He  lived  about  the  middle  of 
the  17th  century. 


PAINTERS  AND  ENGRAVERS. 


SALM,  B.  Nicolas,  German  painter  and  black- 
and-white  artist ;  born  at  Cologne  in  1810,  where 
he  first  studied  ;  several  of  his  drawings  were 
reproduced ;  decorated  the  Giirzenich  in  1835 
with  carnival  scenes,  and  as  a  portrait-painter 
made  some  success.  He  died  at  Aaclien,  wliere 
he  tauglit  drawing,  in  1883. 

SALMEGGIA,  Enea,  (Salmasio,)  called  II 
Talpino,  painter,  was  born  at  Bergamo  about  the 
year  1556.  He  received  his  first  leaching  at  Cre- 
mona, under  the  Campi,  but  afterwards  became  a 
scholar  of  Procaccini,  at  Milan.  He  also  passed 
fourteen  years  at  Kome,  where  he  applied  himself 
to  the  study  of  Raphael.  His  pictures,  of  which 
there  are  many  in  his  native  town,  have  much  sim- 
plicity and  refinement.  He  died  at  Bergamo  in 
1626.  Francesco  and  Clara,  the  son  and  daughter 
of  Enea  Salmeggia,  imitated  their  father's  manner. 
SALMERON,  Cbistobal  Garcia,  a  Spanish 
painter,  born  at  Cuenca  in  1603.  He  was  a  pupil 
of  Pedro  Orrente,  and  proved  a  reputable  history 
and  animal  painter.  One  of  his  best  works  is  a 
'  Nativity,'  in  the  church  of  St.  Francis,  at  Cuenca. 
He  was  employed  by  Philip  IV.  to  paint  a  bull- 
fight, held  in  honour  of  the  birth-day  of  Charles  II. 
of  Spain.     He  died  at  Madrid  in  1666. 

SALMERON,  Fbancisco,  brother  of  Cristobal 
Salmeron,  was  born  at  Cuenca  in  1608,  and  was 
also  a  pupil  of  Pedro  Orrente.  His  desire  was  to 
distinguish  himself  as  acolourist,  for  which  purpose, 
it  is  said,  he  chemically  analyzed  works  by  Titian, 
P.  Veronese,  Tintoretto,  and  the  Bassani.  He  neg- 
lected the  other  essentials  of  art,  and  so,  beside 
their  good  colour,  his  pictures  exhibit  very  great 
defects.  The  church  of  S.  Francisco  at  Cuenca  has 
a  '  Burial  of  Christ '  by  him.  He  died  at  Madrid  in 
1632. 

SALMIER  JossE,  a  Flemish  painter,  probably  a 
native  of  Meclilin,  practising  about  1620.  He  was 
related  to  the  painter  David  Herregouts,  to  whom 
he  gave  his  first  lessons  in  art. 

SALMINCIO,  Andrea,  engraver,  was  a  native  of 
Bologna,  where  he  was  a  bookseller.  He  learnt 
engraving  from  Giovanni  Luigi  Valesio,  and  pro- 
duced several  engravings,  both  on  wood  and  on 
copper,  which  he  marked  with  a  monogram  similar 
to  that  of  Ant.  Sallaert. 

SALMON,  Adrien  Alphonse,  painter,  born  in 
Paris  in  1802,  was  a  pupil  of  Lecourt,  and  entered 
the  6cole  des  Beaux  Arts  in  1819.  He  was  an 
occasional  exhibitor  at  the  Salon,  and  at  the 
Luxembourg,  but  was  better  known  as  a  restorer 
of  pictures.  He  last  appeared  at  the  Salon  in  1848. 
SALMON,  Jacques  Pierre  Francois,  painter, 
born  at  Orleans  on  the  16th  August  1781,  was  a 
pupil  of  Bardin  and  of  Regnault.  He  was  for 
some  time  attached  to  the  "Ecole  Centrale"  of  the 
department  of  Loiret,  and  afterwards  worked  for 
forty-five  years  as  a  professor  at  the  College  of 
Orleans.  Several  views  by  him  of  scenery  in  the 
neighbourhood  of  Orleans  have  been  engraved  and 
lithograplied.  He  died  at  Orleans  on  the  10th 
March,  1855.  The  Musee  of  that  city  possesses 
examples  of  his  work. 

1  SALMON,  Louis  Adolphe,  French  painter  and 
;engraver  ;  born  in  Paris  in  1806,  where  he  studied 
at  the  Beaux  Arts  under  Henriquel,  Dupont,  and 
Ingres  ;  he  won  the  Grand  Prix  de  Rome  with  his 
'Academic  d'aprfes  Nature.'  In  Italy  he  made 
several  copies  in  water-colour  of  the  Old  Masters, 
and  painted  portraits  of  Pio  Nono,  the  Princess 
Borghese,  Duca  di  Montebello,  and  others,  and  his 


engravings  were  from  originals  by  Angeli,  Ingres, 
Rosso,  Santi,  Ary  Scheffer,  and  Leonardo  da  Vinci. 
He  obtained  a  second-class  medal  in  1853,  and  a 
rappel  in  1857,  1859,  and  1863,  and  the  Legion  of 
Honour  in  1867.  He  died  in  Paris  in  September 
1895. 

SALMSON,  Hugo  Frederie,  was  bom  at  Stock- 
holm in  1843.  He  came  to  Paris  and  studied  under 
Charles  Comte,  and  also  settled  there.  Exhibiting 
regularly,  at  first  historical  subjects,  then  rustic 
genre  and  landscape,  and  latterly  portraits,  often  in 
pastel,  he  has  had  many  manners.  He  was  created 
Knight  of  the  Legion  of  Honour  in  1879,  and  Officer 
in  1889.  His  'A  la  Barrifere  de  Dalby,  h  Skane 
(Sufede)'  hangs  in  the  Luxembourg,  for  which  also 
his  'Due  Arrestation  dans  un  Village  de  Picardie  ' 
was  acquired.  Other  pictures  by  him  are  '  Chez 
Grandmere  '  and  '  La  Petite  Glaneuse  '  (Stockholm 
National  Museum).  His  studies  of  peasant  life  in 
Picardy  and  Sweden  won  him  popularity  by  their 
dainty  charm,  capable  draughtsmanship  and  refined 
treatment,  but  his  work  shows  a  lack  of  individu- 
ality.    He  died  at  Lund  on  August  1,  1894. 

SALOMAN.  Geskel,  Danish  painter;  bom  April 
1,  1821,  at  Tondern,  Schleswig  ;  studied  at  the 
Copenhagen  Academy  under  Eckerberg  and  Lund. 
He  subsequently  visited  Paris,  where  he  worked 
with  Couture,  and  in  1860  and  1861  travelled  in 
Algeria.  His  'News  from  the  Crimea'  is  in  the 
Goteborg  Museum,  and  other  works  by  him  include 
'  Girl  with  Letter,'  '  Opfer  der  Huhner,'  and  others. 
He  also  painted  several  portraits  ;  became  a 
member  of  the  Swedish  Academy  in  1871  ;  was 
appointed  Court  Painter  in  1876;  received  the  Vasa 
Order  in  1869,  and  died  in  1890. 

SALOMON,  Bernard,  an  engraver,  called  also 
'  Le  petit  Bernard,'  Bemardus  Gallus,  and  Bernardo 
Gallo,  was  born  at  Lyons  (?)  about  1520.  Though 
there  is  a  doubt  as  to  Lyons  being  his  birthplace, 
he  certainly  resided  there  in  the  last  half  of  the 
ICth  century,  and  was  engaged  in  book  illustration. 
His  best  works  were  illustrations  to  the  Bible  and 
to  Ovid's  '  Metamorphoses.'  He  is  said  to  have  had 
a  son,  Jean  Bernard,  who  practised  the  same  art  as 
his  father,  and  was  called  Giovanni  Gallo,  Johannes 
Gallus,  &c. 

SALT,  Henry,  a  draughtsman,  was  bom  about 
1785  at  Lichfield,  where  he  was  also  educated.  He 
accompanied  Lord  Valentia  to  India  in  1802,  and 
furnished  the  illustrations  for  the  book  of  travels 
published  by  that  nobleman  in  1809.  He  was  em- 
ployed by  the  Government  to  carry  presents  to 
negotiate  an  alliance  with  the  King  of  Abyssinia, 
the  artistic  result  of  which  was  the  publication  of 
twenty-four  views  of  Abyssinia,  and  the  Red  Sea. 
In  1815  he  was  appointed  Consul-General  for 
Egypt,  and  devoted  himself  to  the  study  of  the 
antiquities  of  that  country.  He  died  between  Cairo 
and  Alexandria  in  1827. 

SALTARELLO,  Luca,  (Sartarelli,)  was  bom 
at  Genoa  in  1610,  and  was  a  disciple  of  Domenico 
Fiasella.  At  an  early  age  he  gave  proofs  of  extra- 
ordinary ability,  but  going  in  1635  to  Rome  in 
search  of  improvement,  he  there  fell  a  victim  to 
his  unremitting  labour  while  still  very  younjc 
Works : 
Genoa.  San  Stefano.    The  Miracle  of  St.  Benedict. 

„  iS.  Andrea.     Martyrdom  of  St.  Andrew. 

Lisbon.  The  Trinity. 

SALTER,  William,  historical  and  portrait 
painter,  was  bom  at  Honiton  in  1804,  went  to 
London  in  1822,  and  became  a  pupil  of  Northcote. 

11 


A   BIOGRAPHICAL  DICTIONARY  OF 


He  then  went  to  Florence,  where  he  painted  a. 
picture  of  '  Socrates  before  the  Areopagus,'  and 
thence  to  Rome  and  Parma,  at  whicli  latter  city  hie 
studies  from  Correggio  became  famous.  In  1833  lie 
returned  to  England,  where  he  painted  a  picture  of 
the  'Waterloo  Banquet.'  He  was  also  employed 
in  painting  scenes  from  Sliakespeare,  and  historical 
scenes  from  the  lives  of  the  Stuarts.  Salter  was 
a  vice-president  of  the  Society  of  British  Artists. 
He  died  in  London  in  1875. 

SALTO,  Diego  de,  an  Augustine  friar  of  Seville, 
wlio  took  the  vows  in  1676,  and  devoted  his  leisure 
to  illuminating. 

SALTZBURGER,  P.,  a  German  engraver  on 
wood,  who  flourished  about  the  year  1580  ;  most  of 
his  cuts  are  from  the  designs  of  Jost  Amman. 

SALVA,  Carniero  Joaquin  de,  a  Portuguese 
engraver,  born  at  Oporto  in  1727.  He  studied  at 
Rome,  and  was  appointed  Professor  in  the  School 
of  Engraving  at  Lisbon,  where  lie  died  in  1818. 

SALVADOR  OF  Valencia,  a  Spanish  painter 
of  the  15th  century,  who  worked  with  Benozzo 
Gozzoli  at  Rome,  and  was  patronized  by  Calistus 
III.,  about  1450. 

SALVADOR  CARMONA,  Manoel,  was  an  en- 
graver and  designer,  who  was  born  at  Madrid  in 
1730,  and  became  a  pupil  of  Dupuis  in  Paris.  He 
died  at  Madrid  in  1807.  His  engravings  are  much 
esteemed.  Among  the  more  important  may  be 
reckoned  the  following : 

An  Allegory  in  honour  of  Charles  III.  of  Spain ;  after 
Solhiiena. 

Bacchus  crowning  his  Votaries  ;  after  Telazque:. 

A  Madonna  seateJ  on  Clouds  ;  afhr  Mtcrilto.     1802. 

A  Madonna;  after  Van  Dyck.     1757- 

The  Resurrection  ;  after  J'an  Loo.     1757. 

St.  John  tlie  Baptist ;  after  Eajthael  Meivjs.     1784. 

The  Magdalene  ;  after  the  same. 

St.  Ferdinand  praying ;  o/(fr  J/«?"!Wo.     1791. 

Angels  appearing  to  Mary  Magdalene ;  afte^-  Guercino. 

Portrait  of  Francois  Boucher ;  after  Roslin  SiieJois. 

Portrait  of  Collin  de  Vermont ;  after  the  same. 

Portrait  of  Charles  III. ;  after  Raphael  Menc/s.     1783. 

Portrait  of  Don  Alfonso  P.  de  Guzman  ;  after  Van  Dyck. 

Joseph,  a  Carmelite  Monk  ;  after  Velazquez. 

SALVADOR  GOMEZ,  Luciano,  supposed  to  be 
a  brother  of  Vicente  S.  Gomez,  was  a  pupil  of 
Jacinto  de  Espinosa.  A  '  St.  Barbara,'  in  the 
cathedral  and  a  'St.  Erasmus,'  in  the  Dominican 
convent,  at  Valencia,  are  ascribed  to  him.  He 
was  living  in  1662. 

SALVADOR  GOMEZ,  Vicente,  was  a  native  of 
Valencia,  and  pupil  of  Jacinto  de  Espinosa._  At 
the  age  of  fourteen  he  is  recorded  to  have  painted 
a  series  of  pictures  from  the  life  of  St.  Ignatius 
Loyola,  which  gained  him  enough  reputation  to 
keep  him  fully  employed  in  the  Valentian  churches 
and  convents  for  the  rest  of  his  life.  He  was  a 
skilful  painter  of  birds  and  animals,  also  of  archi- 
tecture; and  his  colour  was  pleasing.  In  1670  he 
was  the  Director  of  an  academy  held  in  the  convent 
of  St.  Dominic,  and  in  1675  he  executed  ten  scenes 
from  the  lives  of  St.  Juan  de  Mala  and  St.  Felix  de 
Valois  for  the  choir  of  the  churcli  of  El  Remedio. 
These  are  the  only  dates  relating  to  him  which  are 
certainly  known.     His  pictures  are  numerous. 

SALVADOR,  Mariano  Maello,  of  Valencia,  born 
in  1739,  studied  painting  with  Gonsalez  Velazquez 
at  Madrid.  He  was  appointed  painter  to  the  King 
and  Director-General  of  the  Academy  of  St.  Fer- 
dinand. In  1775  he  was  employed  in  Valencia, 
with  Bayeu,  to  replace  the  venerable  frescoes  of 
Juan  de  Borgoua  in  Toledo  with  daubs  of  his  own. 
He  furnished  illustrations,  engraved  by  Salvador 
12 


Carmona,  for  the  Infant  Don  Gabriel's  Sallust.     He 
died  in  1819. 

SALVATORE  D'ANTONIO,  the  author  of  a 
panel  in  San  Niccolo,  Messina,  painted  at  tlie  close 
of  the  15th  century,  representing  St.  Francis  re- 
ceiving the  stigmata,  is  thought  by  some  to  have 
been  the  father  of  Antonello  da  Messina,  but  no 
records  of  his  life  or  death  exist.  The  latest  opinion 
would  make  him  tlie  pupil  of  Antonello. 

SALVESTRINI,  Bartolojimeo,  a  Florentine 
painter  of  the  17th  century,  one  of  the  most  suc- 
cessful imitators  of  Jan  Bilivert.  He  died  while 
still  young,  a  victim  to  the  plague  of  1630. 

SALVETTI,  Francesco,  a  minor  Florentine 
painter  and  engraver,  born  1701.  He  was  the 
pupil  and  intimate  friend  of  Anton  Domenico 
Grabbiani.     He  died  in  1768. 

SALVI,  Giovanni  Battista,  called  II  Sasso- 
FERRATO  from  his  birthplace  in  the  March  of  An- 
cona,  born  in  1605,  the  son  of  a  painter,  Tarquinio 
Salvi.  He  is  usually  classed  among  the  followers 
of  the  Carracci,  and  is  said  to  have  been  more 
especially  intiuenced  by  Domenichino  at  Naples. 
At  Rome,  where  the  greater  part  of  his  life  was 
spent,  he  produced  a  large  number  of  pictures,  one 
of  the  best  being  an  altar-piece  for  the  Dominicans 
of  Sta.  Sabina  on  the  Aventine,  representing  the 
Madonna  del  Rosario  with  SS.  Catherine  and 
Dominic ;  the  picture  was  stolen  in  the  summer 
of  1901,  but  was  shortly  after  recovered  and 
restored  to  its  place.  His  works,  mostly  Ma- 
donnas, are  very  frequently  met  with  in  public 
and  private  collections.  His  free  copies  after 
Raphael,  Titian,  Perugino  and  other  masters  are 
occasionally  of  great  merit,  being  far  superior  to 
his  original  works,  which  have  all  the  defects  of 
the  late  17th  century,  and  are  often  chalky  and 
unpleasant  in  colour.  Among  his  best-known 
paintings  are  the  following  : 

Bremen.  Frau  Burger-  >  The  Madonna  in  prayer.  One 
meister  Lurraan.  y  of  the  best  examples  of  this 
composition,  which  he  fre- 
quently repeated.  Other 
examples  in  Loudon,  at 
Dresden,  Munich,  Madrid 
and  elsewhere, 

Dresden,  Gallery.     Sleep  of  the   Infant   Saviour. 

Other   examples  at  Madrid, 
Paris  and  elsewhere. 

Florence,  Uffizi.     His  own  Portrait. 

Milan.  Brera.     The  Immaculate  Conception. 

Naples.  3li(seitm.    The  "Workshop  of  St.  Joseph. 

„  „  A<loration  of  the  Shepherds. 

North  Cray,  Kent.  The  Crucifixion. 

Other  works  at  Berlin,  Brussels,  Cassel,  Prank- 
fort,  the  Hague,  Rome,  St.  Petersburg,  Venice, 
Vienna,  &c. 

SALVI,  Tarquinio,  a  Roman  painter  of  the  16th 
century,  of  whom  little  is  known.  He  was  a  native 
of  Sassoferrato,  and  the  father  and  first  teacher  of 
Giarabattista  Salvi,  called  Sassoferrato.  His  only 
recorded  work  is  a  large  '  Rosario,'  in  the  Eremitani 
at  Rome.     It  is  signed  and  dated  1553. 

SALVIATI,  Francesco.  See  Dei  Rossi,  Fran- 
cesco. 

SALVIATI,  Giuseppe.    See  Porta. 

SALVIATINO.    See  Dei  Rossi,  Francesco. 

SALVIN,  Anthony.  The  exquisite  quality  of 
the  pencil  and  pen-and-ink  drawings  made  by  this 
architect  demand  that  he  should  find  a  place  in 
'  Bryan's  Dictionary.'  His  work  as  an  architect  was 
of  very  high  merit,  and  many  notable  buildings 
stand  as  his  memorial.    Perhaps  one  of  liis  greatest 


GIOVANNI   BATTISTA  SALV 

i-AI  I.EIi 

IL  SASSOFKRRATO 


Alinari  photo\ 


'\_Cffi-'  OjUliy,  Florence 


PORTRAIT  OF  THE  ARTIST 


GIOVANNI  BATTISTA  SALVI 


IL  SAS.SOFERRATO 


,  Indcrson  photo] 


\_Ckun'h  of  S/,i.  Sabina,  Rot? 


MADONNA   DEL  ROSARIO 


PAINTERS  AND  ENGRAVERS. 


works  was  the  rebuilding  of  the  keep  of  Alnwick 
Castle,  and  next  to  that  may  be  mentioned  the 
erection  for  Lord  ToUemache  of  a  castle  at 
Peckforton.  The  work  of  restoration  and  repair 
entrusted  to  him  includes  important  repairs  in  the 
Tower,  at  Windsor  Castle,  and  to  the  ruined 
castles  of  Carisbrooke,  Carnarvon,  Warkworth, 
Alnwick,  Graystoke,  Dunster,  and  Brancepeth. 
He  came  of  an  important  Durham  family,  and  was 
particularly  interested  in  the  fortified  castles  of 
his  own  and  neighbouring  counties,  and  was  led 
by  the  study  of  these  buildings  to  become  in  his 
time  the  greatest  authority  on  such  erections. 
When  liis  architectural  work  was  in  hand  he 
devoted  considerable  time  to  the  preparation  of 
very  remarkable  drawings  of  ancient  ruins,  and  to 
other  illustrations,  showing  them  as  he  conceived 
they  originally  were.  He  resided  in  London  for  a 
considerable  part  of  his  life,  but  retired  in  18G4  to 
a  house  he  built  near  Haslemere,  known  as  Hawk's 
Fold,  and  there  it  was  he  died  in  1881,  in  the 
eighty-second  year  of  his  life. 

SALVIONI,  Kos.^LBA  Maria,  painter,  was  bom 
at  Rome  in  the  17th  century.  She  studied  under 
Sebastiano  Conca,  and  in  1730  was  admitted  an 
honorary  member  of  the  Academia  Clementi  of 
Bologna.  In  the  church  of  the  Minorites  at 
Frascati  there  is  a  '  St.  Catharine '  by  her. 

SALVOLINI,  GiusTiNO  de,  called  also  Episcopio, 
a  painter  of  the  16th  century,  belonging  to  the 
Roman  school,  but  practising  chiefly  in  his  native 
town  of  Castel  Durante,  where  he  painted  in  col- 
laboration with  Luzio  Dolce. 

SALWAY,  N.,  an  English  mezzotinter,  who 
flourished  about  the  year  1760.  He  engraved  some 
portraits,  which  are  not  without  merit. 

SALY,  Jacques  Franqois  Joseph,  (Sailly,)  a 
famous  French  sculptor,  born  at  Valenciennes  in 
1717,  was  a  pupil  of  Coustou.  He  is  mentioned 
here  as  the  etcher  of  thirty  designs  for  vases,  and 
of  four  for  monuments.  He  was  Director  of  the 
Academy  in  Copenhagen.  In  1774  he  went  to 
Paris,  where  he  died  in  1776. 

SALZEA,  De.     See  De  Four. 

SALZEE,  Friedrich,  landscape  painter,  born  at 
Heilbronn  in  1827,  was  instructed  in  the  principles 
of  his  art  by  Baumann,  but  afterwards  went  to 
Munich.  He  painted  the  backgrounds  for  the 
battle-pieces  of  Kotzebue.  There  is  a  Winter-piece 
by  him  in  the  Gallery  of  Stiittgart.  In  1863  he 
gave  up  art  on  succeeding  to  his  father's  business, 
and  died  at  Heilbronn  in  1876. 

SAM,  Enqel,  (or  Angelo,)  born  at  Rotterdam  in 
1699,  was  a  good  portrait  painter,  but  excelled 
chiefly  in  genre.  He  imitated  the  manner  of  Van 
der  Werff,  and,  it  is  said,  painted  a  '  Flight  into 
Egypt'  so  perfectly  resembling  the  work  of  that 
master,  that  even  experts  were  deceived  by  it. 
It  is  also  said  that  he  imitated  Metsu.  He  died 
at  Amsterdam  in  1769. 

SAMACCHINI,  Orazio,  painter,  was  born  at 
Bologna  in  1532,  and,  according  to  Malvasia,  was 
the  pupil  of  PeUegrino  Tibaldi.  He  afterwards 
studied  tlie  works  of  Correggio,  and  was  employed 
to  paint  in  fresco  the  great  chapel  in  the  cathedral 
of  Parma,  contiguous  to  the  famous  cupola  by  that 
distinguished  master.  He  went  to  Rome  in  the 
pontificate  of  Pius  IV.,  by  whom  he  was  employed, 
in  conjunction  with  Marco  da  Siena  and  others,  in 
the  decorations  of  the  Sala  Regia.  The  Dresden 
Gallery  has  a  '  Holy  Family '  by  this  artist. 
Samacohini  died  at  Bologna  in  1577.     Works : 


Bologna.  5^?.  Narhorre  e  Felice.  Coroaation  of  the  Virgin. 

„  S.GiacotnoMagffiore.  Puriflcatiou  of  the  Virgin. 

„  Certosa.  Last  Supper. 

„  La  Trinita.  Crucifixion. 

,,  Pal.  Lambei-tini.  The  Fall  of  Icarus. 

Cremona.  H.  Ahiondio.  Frescoes  on  tlie  vault. 

SAMANIEGO,  Mariana.    See  Silva  Bazan. 

SAMBACH,  Franz  Kaspar,  painter,  was  born 
at  Breslau  in  1715,  received  his  instruction  in  art 
from  Reinert  and  de  rEp(5e,  and  at  Vienna  under 
Donner.  In  1762  he  became  Professor  of  Architec- 
ture ;  and  in  1772  Director  of  Painting  in  the  same 
academy.  He  painted  feigned  bas-reliefs  in  the 
style  of  Geeraerts  and  Jacob  de  Wit.  He  also 
executed  some  frescoes  for  the  Jesuits'  church  at 
Stuhlweissenburg,  and  an  altar-piece  for  the 
Franciscan  church  at  Camischa.  He  died  at  Vienna 
in  1795. 

SAMELING,  Benjamin,  painter,  born  at  Ghent 
in  1520,  was  brought  up  in  the  school  of  Franz 
Floris,  in  whose  style  he  painted  historical  subjects 
and  portraits.  The  church  of  the  Jansenists  at 
Ghent  has  several  works  by  him  after  drawings  by 
Lucas  de  Heere.     He  died  at  Ghent  in  1614. 

SAMENGO,  Ambroqio,  a  Genoese  landscape 
painter  of  the  17th  century,  the  pupil  of  Giov. 
Andrea  Ferrari.  His  works  are  few  and  scarce,  in 
consequence  of  his  early  death. 

SAMMARTINO.    See  San  Martino. 

SAMMET-BRUEGEL.     See  Bruegel,  Jan. 

SAJISON,  Jean,  a  French  historical  painter  of 
the  16th  century,  who,  in  1533,  was  engaged  in 
work  for  the  chateau  of  Versailles. 

SAMUEL,  George,  landscape  painter,  was  an 
exhibitor  at  the  Academy  from  1786  to  1823.  He 
painted  a  '  View  of  the  Thames  from  Rotherhithe 
Stairs,'  during  the  frost  of  1789.  He  was  killed  by 
a  wall  falling  on  him,  soon  after  1823. 

SAMUEL,  Richard,  portrait  painter  and  en- 
graver, was  an  exhibitor  at  the  Academy  from 
1772  to  1779.  There  is  an  engraving  after  him  of 
'  Nine  living  Muses,'  including  Mrs.  Sheridan,  Mrs. 
Montagu,  Angelica  Kauifman,  etc.  In  1773  he 
gained  a  prize  from  the  Society  of  Arts  for  an  im- 
provement in  the  method  of  laying  mezzotint 
grounds. 

SAN  ANTONIO,  Fray  Bartolome  de,  was  born 
at  Cienpozuelos  in  1708.  At  the  age  of  fifteen  he 
took  the  habit  of  the  order  of  the  Trinitarios  des- 
calzos,  and  after  studying  philosophy  and  theology 
went  to  Rome  to  study  painting,  of  which  he  had 
acquired  the  elements  at  Madrid.  He  remained  in 
Italy  six  years,  and  in  1740  returned  to  his  convent 
at  Madrid,  which  he  enriched  with  an  immense 
number  of  his  productions.  About  this  time  the 
Academy  of  S.  Fernando  was  established,  for  which 
he  painted  an  allegorical  picture  representing 
'Ferdinand  VI.  and  the  Catholic  Religion,'  for 
which  he  was  received  as  a  member  of  that  body. 
The  church  of  the  Trinitarios,  at  Madrid,  also 
possesses  many  of  his  works.  He  died  on  Febru- 
ary 8,  1782. 

SAN  BERNARDO,  II   Vecchio  di.    See  Mis- 

ZOCCHI. 

SANCHEZ,  Alonso,  one  of  three  artists  employed 
to  paint  frescoes  at  the  university  de  Alcald  de 
Henares,  by  command  of  Cardinal  Cisn6ros,  the 
founder.  He  was  also  employed,  with  five  others, 
in  the  embellishment  of  the  cathedral  cloister  at 
Toledo,  for  which  he  was  paid  in  1498.  In  1508 
he  was  again  employed  in  the  same  cathedral  with 
Diego  Lopez  and  Luis  de  Medina. 


A   BIOGRAPHICAL   DICTIONARY   OF 


SANCHEZ,  Andres,  a  native  of  Portillo,  near 
Toledo.  He  was  a  pupil  of  Theotocopuli,  called 
II  Greco,  and  was  commissioned  in  1600  by  the 
delegate  of  the  Franciscan  missionaries  to  paint 
certain  pictures  for  the  churches  built  by  them 
in  the  Spanish  colonies. 

SANCHEZ,  Cr.EMENTE,  painter,  was  living  at 
Valladolid  in  1620.  He  painted  several  pictures 
for  the  Dominicans  of  Aranda  de  Duero. 

SANCHEZ-COELLO,  Alonzo,  was  born  at  Beny- 
fayro,  in  Valencia,  in  1513  or  1615.  From  his  stj'le 
he  appears  to  have  studied  in  Italy,  for  his  design 
resembles  that  of  the  Florentines,  while  in  colour 
he  follows  the  principles  of  the  Venetians.  In 
1541  he  resided  at  Madrid,  where  he  formed  an  in- 
timacy with  Sir  Antonio  Mor,  whom  he  accom- 
panied to  Lisbon,  when  the  latter  was  sent  by 
Charles  V.  to  paint  the  portraits  of  the  royal 
family.  Sanchez  entered  into  the  service  of  Don 
John,  who  had  married  Joanna,  the  daughter  of 
Charles  and  sister  of  Philip  II.,  and  made  a  con- 
siderable stay  at  Lisbon.  At  the  death  of  Don 
John  his  widow  recommended  Sanchez  to  her 
brother  Philip,  who  at  once  received  him  as  his 
painter  in  ordinary  when  Mor  made  his  sudden 
tlight  from  Spain.  He  painted  many  portraits  of 
Philip  and  of  other  members  of  the  royal  family. 
He  also  painted  the  Popes  Gregory  XIII.  andSixtus 
V.  ;  the  Dukes  of  Florence  and  Savoy ;  Cardinal 
Farnese,  brother  of  the  Duke  of  Parma  ;  and  many 
grandees  of  Spain.  With  such  patronage  he  became 
rich,  and,  it  is  said,  lived  according  to  his  fortune. 
In  1570  he  painted,  in  conjunction  with  his  disciple, 
Diego  de  Urbina,  the  triumphal  arch  erected  at 
Madrid  for  the  entry  of  Anne  of  Austria,  the  wife 
of  Philip  II.  In  1573  he  entered  into  an  engage- 
ment to  decorate  witli  suitable  subjects  the  prin- 
cipal altar  of  the  church  del  Espinar,  executed  by 
the  celebrated  Francisco  Giralte,  and  for  which  he 
painted  what  may  be  termed  a  drop-scene,  to  serve 
as  a  screen  during  the  two  last  weeks  in  Lent. 
Notwithstanding  his  advanced  age  Philip  employed 
him  in  1582  in  filling  the  Escurial  with  pictures. 
For  this  palace-monastery  he  painted  '  St.  Paul, 
the  first  herniit,  with  St.  Anthony  ; '  'St.  Stephen 
with  St.  Lawrence  ; '  'St.  Vincent  with  St.  George  ; ' 
'  St.  Catharine  with  St.  Inez;'  and  'St.  Justus  and 
Pastor,'  in  which  he  introduced  a  view  of  Alcala 
de  Henares,  and  the  scener}'  about  it.  About  this 
time  he  painted  the  portrait  of  his  friend.  Father 
Siguenza,  which  is  considered  a  chef-d'ceuvre,  and 
has  been  finely  engraved  by  Ferdinand  Sehna  ;  and 
in  1582  that  of  Ignatius  Loyola,  from  casts  taken 
twenty-nine  years  previously,  and  from  instructions 
by  Father  Ribadeneyra.  Notwithstanding  all  this 
success,  however,  Coello  was  but  a  second-rate 
artist.  He  died  at  Madrid  in  1590.  Of  his  works 
we  may  name  : 

Lomlon.  Nat.  rot:  Gal.  Full-length portraitofPhilipU. 
Madrid.  Museum.    Portrait  of  Don  Carlos. 

„  „  Eugenia     and     several    other 

Infantas. 

.,  „  The  Marriage  of  St.  Catharine. 

A'ienna.  Galltry.       A  Spanish  Lady. 

SANCHEZ-COELLO,  Isabella,  who  was  bom  at 
Madrid  in  1564,  was  instructed  by  her  father,  Alonso 
Sanchez  Coello,  and  distinguished  herself  as  a 
painter  of  portraits,  which  are  not  now,  however, 
to  be  identified.  She  was  also  eminent  in  poetry 
and  music,  and  highly  esteemed  for  her  personal 
character.  She  married  Francisco  de  Herrera,  and 
died  at  Madrid  in  1G12. 

14 


SANCHEZ-COTAN,  Fray  Jcan,  an  eminent 
Spanish  painter  of  Madonnas,  flowers,  and  still- 
life,  was  born  at  Alcazar  de  San  Juan  in  1561 ;  he 
was  the  son  of  Bartolom6  Sanchez-Cotan,  and  Ana 
de  Quinoiies.  He  studied  at  Toledo  under  Bias  de 
Prado,  whose  style  he  imitated,  and  under  him 
made  great  progress  in  art.  At  first  he  painted 
bodegones,  subjects  like  those  of  Jan  Fyt,  but  in 
1604  he  became  a  professor  of  the  Chartreuse  of 
Paular,  and  painted  subjects  from  Christ's  Passion, 
the  sorrows  of  the  Virgin,  and  particularly  Madonnas 
crowned  with  chaplets  of  flowers ;  all  these  he 
devoted  to  the  decoration  of  his  convent,  or 
bestowed  on  his  brethren  for  their  private  oratories. 
From  Paular  Sanchez-Cotan  was  removed  in  1612 
to  the  royal  Chartreuse  at  Granada,  for  which  he 
painted  the  principal  historical  pictures  in  that 
monastery.  It  is  related  by  Palomino  that  he 
painted  a  Crucifixion  for  the  refectory  of  the  con- 
vent, so  deceptive  in  its  appearance  that  birds  at- 
tempted to  perch  on  the  cross  ;  and  Cean  Bermudez 
confesses  that  he,  at  first  sight,  mistook  it  for  a 
piece  of  sculpture.  Vincenzo  Carducci  made  a 
journey  from  Madrid  to  Granada  to  see  his  works. 
Sanchez-Cotan  died  at  Granada  in  1637. 

SANCHEZ-D'AVILA,  Andres,  painter,  was  horn 
at  Toledo.  He  went  to  Paris  in  his  youth,  and 
afterwards  established  himself  as  a  portrait  painter 
at  Vienna.     He  died  in  1762. 

SANCHEZ  DE  CASTRO,  Juan,  of  Seville,  founder 
of  the  school  of  Andalusia,  was  born  in  the  first 
half  of  the  15tli  century.  In  1454  he  painted 
pictures  for  the  old  Gothic  altar,  in  the  chapel  of 
San  Josef  in  Seville  cathedral.  For  the  church  of 
San  Julian  he  executed  a  St.  Christopher  in  fresco, 
which  was  repaired  in  1775,  little  but  the  signature 
being  left  of  the  work. 

SANCHEZ,  Ldis,  is  known  only  as  having  de- 
signed in  1611  the  title-page  of  a  book  called  '  De  la 
Veneracion  que  se  debea  lasreliquias  de  lossantos,' 
engraved  by  Pedro  Perret,  and  published  in  Madrid. 

SANCHEZ,  Mandel,  a  priest  of  Murcia,  who 
was  practising  as  a  painter  in  1731. 

SANCHEZ,  Pedro,  a  Spanish  painter,  who  was  at 
work  in  Toledo  cathedral  in  1462. 

SANCHEZ  SARABIA,  Diego,  an  architectural 
draughtsman  and  painter  of  familiar  subjects,  was  a 
member  of  the  Academy  of  San  Fernando  in  1762. 
By  desire  of  that  body  he  made  drawings  of  the 
Alhambra  and  of  the  Palace  of  Charles  V.,at  Granada. 
These  are  now  in  the  Academy.  Sanchez  Sarabia 
died  in  1779. 

SANCHO,  EsxtBAN,  a  Spanish  painter,  known 
as  Manbta,  from  his  having  lost  his  right  hand. 
He  was  a  native  of  Majorca,  and  a  pupil  of  Pedro 
Ferrer,  and  painted  many  pictures  for  tUe  churches 
of  his  native  island.     He  died  in  1778. 

SAN  CLERICO,  ,  an  Italian  scene-painter 

and  decorator  of  much  repute,  practising  in  1823. 
A  good  example  of  his  work  is  the  ceiling  of  the 
Casino  degli  Negozianti  at  Milan. 

SAN  DANIELE,  Battista  da,  was  a  Dalmatian, 
living  at  Udine  and  San  Daniele,  in  the  middle  of 
the  15th  century,  and  was  the  father  of  Martino  da 
Udine,  surnamed  Pellegrino  da  San  Daniele.  No 
paintings  by  him  are  now  extant,  but  records  exist 
to  prove  that  in  1468  he  contracted  to  paint  a  cur- 
tain-fall for  the  church  of  Comerzo,  and  in  1470  an 
altar-piece  with  four  figures  for  the  brotherhood  of 
San  Daniele  di  Castello.  (Crowe  and  Cavalcaselle, 
'  Painting  in  N.  Italy.') 

SANDARS,  Thomas,  engraver,  eon  of  a  painter 


PAINTERS  AND  ENGRAVERS. 


of  Rotterdam,  went  to  London,  and  became  a 
member  of  the  St.  Martin's  Lane  Academy.  He 
etched  the  '  Italian  Fisherman,'  after  Vemet,  and 
drew  and  engraved  fifteen  views  of  market  towns 
in  Worcestershire.  He  exliibited  at  the  Academy 
down  to  1775. 

SANDBERG,  Johann  Gustap,  a  Swedisli 
painter  born  in  1782.  In  the  Stockholm  Gallery 
there  are  three  pictures  by  him — a  'Gustavus 
Adolphus  II.  at  the  battle  of  Stuhm,'  and  two  single 
figure  pictures.     He  died  in  1854. 

SANDBY,  Paul,  was  born  at  Nottingham  in 
1725.  He  came  to  London  when  he  was  sixteen 
years  of  age,  and  having  shown  an  early  inclin- 
ation for  art,  he  obtained  an  introduction  to  the 
draughtsmen's  room  at  the  Tower.  He  had  studied 
there  about  two  years  when  the  late  Duke  of  Cum- 
berland, wishing  to  have  a  survey  made  of  the 
north  and  west  parts  of  the  Highlands  of  Scotland, 
young  Sandbywas  engaged  as  draughtsman,  under 
the  inspection  of  Mr.  David  Watson.  In  company 
with  that  gentleman  he  travelled  through  that  most 
romantic  country,  and,  though  the  leading  object 
of  his  tour  was  the  drawing  of  plans,  in  his  leisure 
hours  he  made  many  sketches  of  the  scenery 
which  surrounded  him.  From  these  designs  he 
made  a  number  of  small  etchings,  which  were 
published  by  Messrs.  Eyland  and  Bryce.  Soon 
after  his  return  from  his  northern  tour,  about  the 
year  1752,  he  passed  some  time  with  his  brother  at 
Windsor,  and  during  his  residence  there  made  a 
great  number  of  drawings  of  views  about  Windsor 
and  Eton,  which  were  immediately  purchased  by 
Sir  Joseph  Banks  at  good  prices.  Sandby  was 
invited  to  accompany  that  gentleman  in  a  tour 
through  North  and  South  Wales,  and  was  employed 
by  Sir  Watkin  Williams  Wynne  to  make  drawings 
of  the  picturesque  scenery  in  that  country.  Sandby 
was  the  first  to  infuse  nature  into  topographical 
drawing  •  his  predecessors  had  been  too  much  ac- 
customed to  compose  from  prints  after  the  "  black 
masters,"  but  he  looked  at  nature  with  a  franker 
eye.  To  his  other  acquirements  Sandby  added 
etching  and  engraving  in  the  style  known  as  aqua- 
tint. He  was,  perliaps,  the  first  English  artist  who 
adopted  this  style,  the  secret  of  which,  it  is  said, 
was  brought  into  England  by  the  Hon.  Charles 
Greville,  who  purchased  it  from  Le  Prince,  a 
French  artist,  and  communicated  it  to  Paul  Sandby. 
His  works  in  aquatint  are  very  numerous,  and  were 
popular  at  the  time  they  were  published.  In  1768 
he  was  appointed  chief  drawing-master  at  the 
Woolwich  Military  Academy,  which  post  he  re- 
signed in  1799.  He  died  in  London  in  1809. 
Works  : 

An  Ancient  Beech  Tree.     (South  Kensington. ) 

Llandaff  Cathedral.     {Bo.) 

The  Round  Temple.     {Do.) 

Landscape,  with  Dray  and  Figures.     {I>o.) 

Chepstow  Castle.     (X'o.) 

Warwick  Castle,  with  Bridge  and  Weir.    (Do.) 

Village  Street.     (Do.) 

SANDBY,  Thomas,  brother  of  the  aquarellist, 
Paul  Sandby,  was  pre-eminently  an  architect,  but 
claims  mention  as  a  clever  draughtsman,  of  great 
artistic  feeling.  He  was  bom  at  Nottingham  in 
1721,  and  was,  like  his  brother,  first  employed  as  a 
military  draughtsman.  In  this  capacity  ke  held  an 
appointment  under  the  chief  engineer  in  Scotland, 
and  rendered  the  Government  the  service  of  giving 
the  first  intelligence  of  Prince  Charles  Edward's 


landing  in  1745.  He  was  subsequently  appointed 
draughtsman  to  the  Duke  of  Cumberland,  whom  he 
accompanied  to  Flanders,  and  Deputy-Ranger  of 
Windsor  Park.  He  published  eight  drawings  illus- 
trating improvements  made  by  him  in  the  park, 
and  many  other  drawings  by  him  are  in  the  royal 
collection  at  Windsor,  in  the  British  Museum,  and 
ia  the  Sloane  Museum.  He  died  at  the  Ranger's 
House  at  Windsor,  on  the  25th  June,  1798. 

SANDE-BACKHUIZEN.  See  Backhcizen, 
Hendrik. 

SANDER,  Johann  Heinrich,  painter,  bom  at 
Hamburg  in  1810,  painted  sea-pieces  and  landscapes, 
and  made  a  hit  with  a  '  View  of  Heligoland.'  He 
died  in  1865. 

SANDERAT,  Stienne,  a  French  miniaturist  of 
the  15th  century,  known  as  having  produced  in 
1447,  for  Jean  de  Chalon,  Seigneur  de  Vitteau,  the 
'  Proprietez  des  Choses,'  illustrated  with  fifty 
miniatures. 

SANDERS,  Catharina,  called  Van  Hemessen,  or 
Heemsen,  was  the  daughter  and  pupil  of  Jan  San- 
ders. She  married  Christian  de  Morien,  the  organist 
of  the  church  of  Notre  Dame  at  Antwerp.  He  was 
a  musician  of  repute  in  the  Low  Countries,  and 
known  generally  as  Christinano.  He  resigned  his 
post  in  1556,  and  the  pair  accompanied  Mary  of 
Hungary  to  Spain.  Catharina  painted  portraits  of 
small  size.  A  fine  example  of  these  is  to  be  seen  in 
the  London  National  Gallery.  It  represents  a  fair- 
haired  man  dressed  in  black.  In  1868,  there  was 
in  the  possession  of  M.  Lescart,  lawyer  at  Mons,  a 
'  Virgin  and  Child,'  with  a  background  of  snowy 
landscape,  painted  on  panel,  and  signed,  Caterina 
de  Hemissen  pingebat.  The  dates  of  her  birth  and 
death  are  unknown. 

SANDERS,  (or  Sandres,)  Frans,  a  Flemish 
painter  of  the  16th  century,  who,  in  1526,  painted 
a  '  Last  Judgment '  for  the  '  Salle  des  Plaids '  of 
the  Grand  Council  of  Mechlin.  In  Margaret  of 
Austria's  Collection  there  was  a  '  Little  Madonna' 
by  him,  which  Albrecht  Diirer  greatly  commended. 

SANDERS,  George  L.,  miniaturist,  was  born  at 
Krnghorn,  in  Fifesbire,  in  1774.  He  studied  under 
Smeaton,  a  well-known  coach-painter  in  Edinburgh, 
and  then  devoted  himself  to  miniature  painting 
and  giving  drawing  lessons.  He  also  produced  a 
Panorama  of  Edinburgh.  In  1807  he  went  to 
London  and  painted  numerous  miniatures,  among 
them  the  Princess  Charlotte,  the  Duke  of  Cumber- 
land, Prince  George,  Lady  Clementina  Villiers,  and 
Lord  Byron.  About  1812  he  turned  his  attention 
to  life-size  portraits  in  oil,  in  which  also  he  had 
great  success  from  the  commercial  point  of  view. 
He  frequently  visited  the  continent,  whence  he 
brought  home  many  excellent  drawings  from  ,the 
Old  Masters,  twenty-six  of  which  now  hang  in  the 
Scottish  National  Gallery.  His  portraits  are  common 
in  English  country-houses,  but  few  have  yet  found 
their  way  into  public  collections.  He  died  in 
London  in  1846. 

SANDERS,  Gerard,  painter,  born  at  Wesel,  in 
Holland,  in  1702,  was  the  pupil  of  his  father-in-law, 
Tobias  van  Nymegen,  whom  he  accompanied  to 
Diisseldorf,  and  there  continued  his  studies.  He 
afterwards  was  associated  with  his  uncle,  Elias  van 
Nymegen,  at  Rotterdam,  in  producing  designs  for 
tapestries.     He  died  in  1767. 

SANDERS,  Jan,  called  Van  Heubssen,  or  Heem- 
sen, a  Flemish  painter  of  the  16th  century,  was 
born  at  Hemixem,  near  Antwerp.  He  was  a  member 
of  an  artist  family  of  some  repute,  as  to  whom  little 

15 


A  BIOGRAPHICAL   DICTIONARY  OF 


was  known  until  the  researclies  of  recent  writers 
threw  some  light  upon  their  history.  It  is  now 
established  that  Jan  Sanders  was  a  pupil  of  Hendrik 
van  Clet'f,  the  elder,  in  1519,  at  Antwerp,  and  that 
in  1535 — 1537  he  had  himself  set  up  an  atelier 
for  pupils  in  that  city.  In  1647 — 15-18  he  was 
Dean  of  the  Society  of  Saint  Luke.  By  his  wife, 
Barbe  de  F6vre,  he  had  two  daughters,  Christina 
and  the  Catharina  mentioned  above.  Towards  the 
close  of  his  career  he  migrated  to  Haarlem,  where 
he  settled.  A  certain  similarity  between  his  style 
and  that  of  Quentin  Matsys  has  caused  it  to  be 
surmised  that  he  was  a  pupil  of  that  artist.  His 
dates  of  birth  and  death  are  unknown,  but  Guio- 
ciardini,  in  his  work  published  in  166G,  speaks 
of  him  amongst  deceased  artists.  The  following 
works  by  him  are  known  : 

Antwerp.  Museum.    The  Calling  of  St.  Matthew. 

Munich.  Finakothek.     A  Holy  Family.     1541. 

„  „  Isaac  blessing  Jacob. 

_„  „  The  Calling  of  St.  Matthew. 

Paris.  Louvre.     Tobias     curing     his     Father's 

lilinilness.     (Dated  1.555.) 
Vienna.  Gallery.    The   Calling  of    St.   Matthew. 

(Three  versions.) 

„  „  St.  William. 

„  „  St.  Jerome. 

SANDERS,  John.  It  is  not  possible  to  state 
with  absolute  certainty  who  this  artist  was,  but  he 
is  believed  to  have  been  the  son  of  a  pastel  painter 
named  John  Saunders,  who  lived  at  Stourbridge, 
and  to  have  adopted  a  different  spelling  for  his 
name  to  that  used  by  his  father.  He  appears  at 
the  Royal  Academy  Schools  in  1769,  winning  a 
silver  medal  in  the  following  year,  and  in  1771 
sending  in  pictures  for  exhibition.  Even  those 
that  are  accredited  to  him  may  possibly  have 
been  the  work  of  his  father,  as  in  1775  one  edition 
of  the  catalogue  of  the  Royal  Academy  de.scribes 
hhn  as  "John  Saunders,  Junior."  In  1778  he 
was  living  at  Norwich,  and  in  1790  at  Bath,  and 
during  those  years  his  name  was  certainly  spelt 
without  the  "  u."  Fanny  Barney  refers  to  his 
portrait  of  Princess  Charlotte  of  Wales,  and  in  the 
houses  about  Bath  there  are  several  clever  portraits 
attributed  to  his  hand.  If  he  was  the  son  of  John 
Saunders  he  was  probably  born  in  1750;  he 
certainly  died  near  Bristol  in  1825,  and  he  left  one 
son. 

SANDERS,  John,  painter,  practised  in  London, 
and  exhibited  at  the  Academy  a  picture  of  St. 
Sebastian  in  1772,  and  a  '  Jael  and  Sisera'  in  1773. 

S.\NDEKS,  John,  probably  the  son  of  the  last- 
named  John  Sanders,  exhibited  at  the  Academy 
from  1775  till  1820. 

SANDERS,  John  Arnold.  This  man  was  the 
son  of  John  Sanders,  and  was  born  at  Bath  about 
1801.  He  executed  a  few  clever  water-colours  of 
landscapes,  and  some  admirable  portraits  in  pencil, 
tinted  with  colour.  He  also  tried  miniature  paint- 
ing, but  when  about  thirty  years  old  got  into 
some  difficulty  with  regard  to  one  of  his  pupils, 
emigiated  to  Canada,  and  was  afterwards  lost  sight 
of. 

SANDFORD,  Francis,  an  Irish  heraldic  artist, 
born  in  County  Wicklow  in  1630  of  a  father  who 
was  an  architect  and  builder  of  fortifications.  He 
became  a  pursuivant  at  Heralds'  College  in  1661, 
and  a  Herald  in  1676,  but  after  the  flight  of 
James  II.  he  sold  his  office  at  the  College  of  Arms 
to  the  nest  person  on  the  roll,  and  retired  to  a 
small  house  in  London,  much  dissatisfied  with 
political  events.     Four  years  afterwards  he  died 

16 


in  Newgate  Prison,  where  he  had  been  confined 
for  debt  in  January  1694,  and  all  memory  of  his 
beautiful  drawings,  his  copper-plate  engravings, 
and  his  genealogical  works,  seems  by  that  time  to 
have  been  forgotten,  so  that  he  was  buried  as  a 
poor  man,  and  under  somewhat  distressing  circum- 
stances. His  great  work  is  the  'Genealogical 
History  of  the  Kings  of  England,'  which  he 
illustrated  with  very  remarkable  armorial  en- 
gravings, and  besides  that  he  produced  half-a- 
dozen  other  important  heraldic  works.  He  was 
strongly  attached  to  the  Stuart  monarchs,  carrying 
his  enthusiasm  for  them  almost  to  the  extent  of  a 
cult.  He  was  an  earnest  Catholic,  and  had  the 
greatest  hatred  of  the  rebellion  that  brought  over 
William  III.,  and  it  was  probably  owing  to  his 
religion  and  his  politics  that  he  was  neglected  in 
80  scandalous  a  manner. 

SANDHAAS,  Karl,  painter,  born  at  Haslach,  in 
Baden,  in  1801.  After  some  preliminary  study  at 
Carisruhe,  he  went  in  1820  to  Munich,  where  he  was 
for  a  time  the  pupil  of  Cornelius,  and  completed 
his  art  education  at  Milan.  In  1822  he  settled  in 
Frankfort,  painting  chiefly  devotional  works  from 
the  New  Testament  history.  He  also  etched  a 
set  of  four  fanciful  plates  in  1844,  published  under 
the  name  of  'Traume  und  Schiiume  des  Lebens.' 

SANDORS,  Thomas,  Dutch  engraver,  who  settled 
in  London  soon  after  the  middle  of  the  18th  centurj'. 
Joining  the  St.  Martin's  Lane  Academy,  he  ex- 
hibited there  till  1775.  There  are  some  views  of 
Worcestershire  engraved  by  him  (1777-81). 

SANDRART,  Jakob  von,  a  nephew  of  Joachim 
Sandrart,  was  born  at  Frankfort  in  1630,  and  was 
instructed  in  engraving  by  Cornelius  Dauckerts  and 
Willem  Hondius,  under  whom  he  worked  first  at 
the  Hague  and  afterwards  at  Dantzic.  He  engraved 
a  great  number  of  plates,  which  are  executed  with 
the  graver  in  a  clear,  neat  style.  His  best  prints 
are  his  portraits,  among  which  are  the  following: 
The  Emperor  Rudolph  II. 

■ Ferdinand  II. 

Ferdinand  III. 

Frederick,  Prince  of  ^'orway. 

Sophia,  Electoral  Princess  of  Saxony. 

Ferdinand  Maria,  Duke  of  Bavaria. 

Joachim  Sandrart ;  inscribed  Siculi  nostri  Apelles. 

Joannes  Paulus  Auer,  Painter. 

Nagler  has  given  a  full  hst  of  his  plates.     He  died 
at  Nuremberg  in  1708. 

SANDRART,  Joachim  von,  painter  and  writer 
on  art,  was  born  at  Frankfort  in  1606,  and  was  in- 
structed in  the  rudiments  of  design  by  Matthaus 
Merian  and  Theodorus  de  Bry.  At  the  age  of  fifteen 
he  went  to  Prague,  where  he  worked  for  a  time  at 
engraving  under  Gillis  Sadeler,  who  recommended 
him  to  exchange  the  graver  for  the  brush.  Sandrart 
then  went  to  Utrecht,  where  he  became  a  disciple 
of  Gerard  Honthorst.  It  is  said  that  when  Honthorst 
was  invited  to  England  by  Charles  L,  he  engaged 
Sandrart  to  accompany  him,  that  the  king  bespoke 
many  pictures  of  him,  that  he  copied  the  portraits 
of  Henry  VIII.,  Sir  Thomas  More,  Erasmus,  and 
others,  by  Holbein,  for  the  Earl  of  Arundel,  and 
that  he  remained  in  England  till  1627,  when  he 
went  to  Venice.  This  however  appears  rather 
doubtful,  though  it  is  certain  that  he  passed  several 
years  in  Italy,  and  at  Venice  copied  the  finest 
pictures  of  Titian  and  Paolo  Veronese.  From 
Venice  he  went  to  Rome,  where  he  resided  some 
years,  and  was  much  employed  by  the  Cardinal 
Barberini    and  the   Prince    Giustiniani,  and  was 


PAINTERS  AND  ENGRAVERS. 


intrusted  by  the  latter  with  the  superintendence  of 
the  engravings  from  statues  in  his  gallery.  From 
Borne  he  visited  Southern  Italy,  returning  to  Ger- 
many in  1637.  Afterwards  he  spent  some  time  in 
Amsterdam,  but  in  1649  went  to  Nuremberg  to 
paint  a  picture  of  the  Peace  Congress,  which  con- 
tained fifty  portraits.  In  1672  he  went  to  Augsburg, 
■where  he  was  employed  in  several  considerable 
works  for  the  Emperor  Ferdinand,  and  for  Maxi- 
milian, Duke  of  Bavaria.  In  his  last  years  he 
resided  at  Nuremberg,  where  he  established  an 
academy,  and  composed  several  works  on  art. 
These  were,  '  AcademiaTedesca  dellaArcLitettura, 
Scultura,  e  Pittura ; '  &c.,  4  vols,  in  2,  folio,  Niirn- 
berg,  1675-79  ;  '  Iconologia  Deorum,  1680 ; '  '  Ad- 
miranda  Sculpturaa  Veteris  Vestigia,  1680  ;  ' '  Romse 
antiqusB  etnovse  Theatrum,  1684;'  and  '  Academia 
Artis  PiotorijB,  1683,'  collected  from  Vasari,  Ridolti, 
and  Van  Mander.  But  this  is  a  Latin  translation  of 
what  had  already  been  published  in  the  '  Academia 
Tedesca.'  A  uniform  edition  (in  German)  of  all  his 
works  was  published  at  NUrnberg,  1769-75,  in  8 
vols,  folio.  He  died  at  Nuremberg  in  1688.  Works : 

Augsburg.  Ch.  of  S.Anna,     Christ  in  the  Temple. 
Munich.         Finakothek.     Portrait  of  a  Woman  in  Black. 
WuTzburg.       Cathedral.    Descent  from  the  Cross. 

SANDRART,  Johann  Jakob  von,  the  son  of 
Jakob  von  Sandrart,  was  bom  at  Ratisbon  in  1655. 
He  learned  the  first  rudiments  of  design  from  his 
father,  and  profited  by  the  lessons  of  Joachim  von 
Sandrart,  his  great  uncle.  He  was  an  able  designer 
as  well  as  an  engraver,  and  possessed  a  ready  and 
inventive  genius.  We  have  sorae-neatly  executed 
portraits  by  him,  and  the  publications  of  Joachim 
von  Sandrart  are  embellished  with  his  spirited 
etchings.  He  also  engraved  several  plates  for  a 
work  entitled  '  Sueoia  Antiqua  et  Hodierna.'  He 
died  at  Nuremberg  in  1698.  The  following  are  his 
principal  independent  prints  : 

Elizabeth,  Princess  of  Brandenburg  ;  after  A.  Le  Clerc. 
Silvius  Jacob  von  Dunkelmann  ;  after  the  same. 
The  Holy  Family  ;  after  Joachim  von  Sandrart. 
The  Origin  of  Painting ;  two  plates,  after  the  same. 
The  Customs  of  the  ancient  Germans  ;  two  plates,  after 

the  same. 
.£neas  saving  Ancliises  ;  from  his  own  design. 

SANDRART,  Lorenz  von,  was  probably  of  the 
same  family  as  the  other  artists  of  the  same  name. 
His  name  is  affixed  to  the  frontispiece  for  a  set  of 
prints  from  Ovid's  '  Metamorphoses,'  by  Engel- 
brecht,  published  in  1700.  It  is  also  believed  that 
he  was  a  painter  in  enamel,  and  was  still  living  in 
1710. 

SANDRART,  Susanna  Maria  von,  the  daughter 
of  Jakob  von  Sandrart,  was  born  at  Nuremberg  in 
1658,  and  instructed  in  design  and  engraving  by 
her  father.  She  executed  several  plates  for  the 
publications  of  Joachim  von  Sandrart.  She  married 
the  painter  Hans  Paul  Auer,  in  1683,  and  after  his 
death  the  bookseller  W.  M.  Endter  of  Nuremberg. 
She  died  at  Nuremberg  in  1716.  We  have  the  fol- 
lowing independent  prints  by  her : 

The  Feast  of  the  Gods ;  after  Raphael. 

The  Nozze  Aldobrandini ;  after  a  design  hy  Bartoli. 

A  Bacchanalian  subject ;  inscribed  Immoderatum  dulce 
Amorum. 

SANDREUTER,  Hans,  Swiss  painter  ;  born  at 
Bfl,le  in  1850.  His  works  show  the  influence  of 
BockUn,  whom  he  has  been  accused  of  imitating. 
Of  this  we  have  evidence  in  his  '  Rebecca,'  '  An 
der  Himmelspforte,'  'Dolce  far  niente,'  &o.  His 
VOL.  v.  c 


'  Landscape  near  B41e '  is  now  in  the  Dresden 
Gallery.  He  died  at  Rieken,  near  Bale,  June  1, 
1901. 

SANDRINO,  ToMMASO,  bom  at  Brescia  in  1575, 
excelled  in  perspective  and  architectural  views,  and 
was  not  unsuccessful  in  history.  His  principal 
works  are  the  ceilings  of  the  churches  of  St.  Faus- 
tino,  S.  Domenico,  and  the  cathedral,  at  Brescia. 
There  are  also  several  of  his  works  in  the  public 
buildings  of  Milan  and  Ferrara.    He  died  in  1630. 

SANDWYK,  Frans  van,  painter,  born  at  the 
Hague  in  1641  or  1642.  He  was  a  pupil  of  Nicholas 
Wieling,  and  a  member  of  the  Pictura  Society. 
Later,  he  became  a  military  engineer  in  the  service 
of  the  States,  and  was  killed  in  battle. 

SANDYS,  Antony  Frederick,  A.N.,  generally 
called  Frederick  Sandys,  sometimes  F.  K.  Sandys 
from  his  habit  of  signing  the  name  Frederick 
thus,  "Fk.  Sandys."  This  clever  artist  was  born 
at  Norwich  in  1832,  and  educated  at  the  Norwich 
Grammar  School,  applying  himself  at  a  very 
early  age  with  earnestness  to  drawing  and  paint- 
ing. He  never  attended  the  Royal  Academy 
Schools  as  has  been  stated,  and  was  not  a  pupil 
either  of  Richmond  or  Lawrence.  Lawrence 
he  never  met  but  for  a  few  minutes,  and  his 
acquaintance  with  Richmond  was  only  as  that  of 
a  family  friend,  and  never  the  relationship  of  pupil 
and  teacher.  His  early  life  is  said  to  have  been 
influenced  by  the  work  of  Menzel,  but  this  also  is 
an  error,  as  never  but  once  did  he  see  illustrations 
of  the  work  of  this  artist,  and  he  himself  stated 
that  they  made  no  impression  whatever  upon  him. 
His  education  in  art  was  entirely  the  work  of  local 
Norfolk  art  teachers  and  his  own  streimous  in- 
dustry when  he  came  to  London  and  worked  on 
his  own  account,  copying  pictures  in  the  National 
Gallery.  His  earliest  exhibit  at  the  Royal  Academy 
was  in  1851,  before  he  was  twenty-one  years  old, 
when  he  sent  in  a  crayon  portrait  of  Lord  Henry 
Loftus,  following  it  in  1854  by  a  smaller  one  of 
the  Rev.  Thomas  Freeman,  of  Norwich.  In  1866 
he  sent  in  two  crayon  portraits,  one  an  anonymous 
one,  and  the  other  representing  the  Rev.  Thomas 
Randolph.  His  first  exhibits  in  oil  were  two 
pictures  sent  in  1861,  one  called  '  Oriana,'  and  the 
other  a  portrait  of  Mrs.  Vf.  H.  Clabburn,  of  Thorpe, 
Norwich.  It  was  about  this  time  that  he  com- 
menced to  do  some  illustrations  for  periodicals, 
and  his  first  drawing  was  entitled  '  Portent,'  done 
for  the  'Cornhill  Magazine'  in  1860.  In  1861  ho 
commenced  to  work  for  '  Once  a  Week,'  and  during 
that  and  the  following  j'ear  produced  eleven  im- 
portant illustrations  as  follows  : — '  Yet  once  more 
on  the  Organ  Play,'  'The  Three  Statues  of  Ar- 
gina,'  '  From  my  Window,'  '  Rosamond,  Queen  of 
the  Lombards,'  '  The  Sailor's  Bride,'  '  The  King  at 
the  Gate,'  'Jacques  de  Caumont,'  'The  Old  Chart- 
ist,' '  Harald  Harfagr,'  '  The  Death  of  King  War- 
wulf,'  and  '  The  Boy  Martyr.'  In  the  same  year 
he  did  'Manoh'  for  the  'Cornhill  Magazine,'  and 
'  Until  Her  Death '  for  '  Good  Words.'  His  ex- 
hibits in  the  Royal  Academy  in  1862  were  various. 
There  were  two  pictures  in  oil,  Mrs.  Clabburn, 
senior,  and  '  King  Pelles'  Daughter  bearing  the 
Vessel  of  the  Holy  Grail,'  one  in  crayons  of  Mrs. 
Doulton,  a  pen-and-ink  drawing  of  '  Autumn,'  and 
another  of  Mrs.  Anderson  Rose.  In  1863  his 
drawing  for  '  Sleep '  appeared  in  '  Good  Words,' 
and  'The  Waiting  Time'  in  the  'Churchman's 
Magazine,'  while  to  the  Academy  he  sent  in  three 
oil  portraits,  one  representing  Mrs.  Anderson  Rose, 

17 


A  BIOGRAPHICAL  DICTIONAEY  OF 


the  same  lady  whom  he  had  exhibited  in  pen-and- 
ink  in  the  previous  year,  a  picture  of  most  marvel- 
lous execution,  and  two  fancy  portraits  called 
'Vivien'  and  'La  Belle  Ysonde.'  The  oil  portrait 
that  was  perhaps  his  greatest  achievement  was 
seen  at  the  Academy  in  1864.  It  was  called  'A 
Portrait,'  but  represented  Mrs.  Jane  Lewis,  of 
Roehampton,  and  was  a  most  wonderful  example 
of  elaborate  miniature  manipulation,  almost  perfect 
in  its  execution.  With  it  he  sent  an  oil  picture 
called  '  Morgan  Le  Fay,'  and  a  pen-and-ink  draw- 
ing of  '  Judith.'  Two  oil  pictures  appeared  in 
1865,  'Cassandra,'  and  'Gentle  Spring,'  and  a 
grand  illustration  in  the  '  Shilling  Magazine,'  called 
'AmorMundi.'  In  1866  his  notable  oil  painting 
of 'Lady  Rose'  was  exhibited,  and  his  work  ap- 
peared in  the  '  Argosy,'  '  Quiver,'  '  Once  a  Week,' 
and  the  '  Cornhill  Magazine,'  the  following  being 
the  titles  of  the  pictures  respectively  : — '  If,'  '  The 
Advent  of  Winter,'  'Cassandra  and  Helen,'  and 
'  Cleopatra.'  In  1868  he  returned  in  his  Royal 
Academy  exhibits  to  his  earlier  medium  of  crayons, 
Bending  in  the  '  Study  of  a  Head,'  and  a  portrait 
of  Mr.  George  Critchett.  With  them  was  sent  in 
his  great  picture  of  '  Medea,'  which  was  accepted, 
but  rejected  at  the  last  moment.  This  procedure 
drew  forth  from  his  friends  an  indignant  protest, 
and  started  a  severe  correspondence  in  the  '  Times,' 
with  a  characteristic  eulogy  of  the  picture  from 
Mr.  Swinburne,  with  the  result  that  in  the  follow- 
ing year  the  picture  was  hung  on  the  line,  and 
with  it  was  accepted  a  crayon  portrait  of  Mrs. 
Barstow.  In  1871  another  oil  portrait  was  sent 
in,  representing  Mr.  W.  H.  Clabburn,  a  crayon 
portrait  of  the  same  person,  and  a  group  in  crayons 
of  the  children  of  Mr.  J.  J.  Colman.  Four  crayon 
portraits  appeared  in  1873,  representing  Mrs. 
William  Brand,  Mr.  Leopold  de  Rothschild,  Mr. 
Frederick  A.  Millbank,  and  Mrs.  Millbank.  His 
exhibits  in  1875  were  a  crayon  portrait  of  Father 
Eossi,  another  of  Miss  Ellis,  one  without  a  name, 
and  an  oil  painting  of  Mrs.  William  Brand.  In 
1876  he  exhibited  one  crayon  portrait  only,  Mrs. 
Charles  Augustus  Howell,  in  1878  a  similar  one 
of  Mr.  Cyril  Flower  (now  Lord  Battersea),  and 
in  1879  an  oil  portrait  of  Mrs.  Temple  Soanes. 
His  exhibits  in  1880,  1882,  and  1883  were  all  in 
crayons,  the  two  portraits  in  1880  representing 
James  Brand,  Esq.,  and  'Ethel  and  Mabel';  those 
in  1882,  Mr.  Robert  Browning,  His  Excellency  the 
Hon.  J.  Russell  Lowell,  Mr.  Matthew  Arnold,  and 
Professor  Goldwin  Smith.  In  that  year  he  had  an 
important  illustration  in  '  Dalziel's  Family  Bible,' 
entitled  '  Jacob  hears  the  Voice  of  the  Lord.'  In 
1883  he  sent  into  the  Academy  a  crayon  portrait 
of  Mrs.  H.  Chinnery,  and  in  1886  his  last  exhibit 
was  an  oil  portrait  of  Mr.  William  Gillilan. 

The  important  work  of  Sandys  was,  however, 
by  no  means  confined  to  his  exhibits  at  the  Royal 
Academy  and  his  book  illustrations.  He  first  of 
all  came  before  the  pubho  in  connection  with  a 
clever  satire  of  the  pictures  exhibited  by  Millais 
at  the  Royal  Academy  in  1857,  called  '  Sir  leum- 
bras  at  the  Ford.'  Sandys'  parody  of  the  picture 
■was  a  very  brilliant  drawing,  representing  Mil- 
lais, Eossetti,  and  Holman  Hunt  riding  upon  a 
donkey,  inscribed  "  J.  R.  Oxon,"  and  intended  to 
represent  Ruskin.  The  joke  was  directed  against 
the  Oxford  Professor  on  account  of  his  over-vehe- 
ment championship  of  Rossetti  and  Holman  Hunt. 
It  was  the  occasion  of  the  first  meeting  between 
Rossetti  and  Sandys,  and  as  the  former  artist  had 

18 


sufficient  sense  of  humour  to  take  the  satire  in' 
good  part,  it  was  the  beginning  of  a  warm  friend- 
ship which  sprang  up  between  the  two  men,  and 
lasted  uninterruptedly  until  Rossetti's  death.  A 
little  later  on  Sandys  took  up  his  abode  in  Ken- 
sington, and  became  associated  with  that  wonder- 
ful circle  which  included  Swinburne  and  George 
Meredith,  Tennyson  and  the  Brownings,  Burne- 
Jones,  Madox  Brown,  William  Morris,  and  others. 
It  was  from  that  time  that  his  illustrative  work 
commenced,  as  previous  to  then  in  book  illustra- 
tion he  had  only  executed  some  pictures  for  the 
'  Birds  of  Norfolk '  and  the  '  Antiquities  of  Nor- 
wich.' There  are  many  works  by  him  which  were 
never  exhibited  at  the  Royal  Academy,  but  that 
must  be  mentioned.  In  1862  he  painted  three 
notable  oil  pictures,  '  Fair  Rosamond,'  '  A  Vestal 
offering  her  Hair  on  a  Rose-crowned  Altar,'  and 
'  Mary  Magdalene.'  In  1868  his  wonderful  crayon 
drawing  called  'Proud  Maisie'  appeared,  perhaps 
the  most  vivid  and  dramatic  work  he  ever  exe- 
cuted, while  in  the  same  year  he  produced  several 
symbolic  figures,  notable  amongst  which  were 
'  Lethe,'  '  Proserpine,'  '  Fate,'  '  Penelope,'  and  '  Mi- 
randa.' Amongst  his  crayon  portraits  should  also 
be  mentioned  Bishop  Denison,  of  Salisbury,  the 
Misses  Clabburn,  Lady  Buxton,  1875  ;  Lady  Law- 
rence, Mrs.  Samuel  Hoare  and  her  children,  1884  ; 
Mrs.  George  Meredith  and  Miss  Meredith,  Mrs. 
Cyril  Flower  (now  Lady  Battersea),  and  Miss 
Clara  Flower,  1872  ;  Miss  Christabel  Gillilan, 
1887  ;  Mrs.  H.  P.  Sturgis,  1894  ;  Mrs.  Palmer, 
1896;  St.  George,  1880,  and  others.  About  the 
year  1880  Sandys  received  a  commission  from 
Alessrs.  Macmillan  &  Co.  to  execute  a  series  of  crayon 
portraits  of  well-known  literary  persons,  and  he 
devoted  many  years  to  this  work.  The  series, 
which  remains  in  the  possession  of  Messrs.  Mac- 
millan, includes  portraits  of  Robert  Browning, 
Matthew  Arnold,  John  Morley,  J.  H.  Shorthouse, 
Lord  Tennyson,  Dean  Church,  Dr.  Westcott,  J.  R. 
Green,  Lord  Wolseley,  and  Mrs.  Oliphant,  while 
in  1891  he  produced  a  delightful  portrait  of  the 
children  of  Mr.  Alexander  Macmillan,  and  in  the 
following  j'ear,  portraits  of  the  same  persons,  two 
girls,  entitled  '  A  Christmas  Carol.' 

Rossetti  pronounced  Sandys  to  be  the  greatest 
of  living  draughtsmen,  and  his  exquisite  skill  in 
drawing  is  well  represented  in  the  wonderful 
picture  of  '  Proud  Maisie,'  now  belonging  to  Dr. 
Todhunter,  and  in  the  studies  of  foliage,  tree- 
trunks,  branches  and  figures  in  which  the  artist 
delighted.  He  was  never  a  member  of  the  pre- 
Raphaelite  Brotherhood,  nor  in  fact  was  he  associ- 
ated with  any  society  of  artists  at  all.  He  lived 
in  constant  revolt  against  the  Academy  and  all  its 
works,  and  was  in  frequent  conflict  with  every 
other  artistic  society,  pursuing  a  resolute  and  life- 
long independence  of  all  schools,  teachers  and 
societies,  and  a  warfare  more  or  less  with  most 
artists.  The  methods  and  ideals,  however,  of  the 
pre-Raphaelite  Brotherhood  were  his,  and  his  pic- 
ture of  'Autumn,'  exhibited  in  1862,  is  a  wonder- 
ful example  of  the  work  of  this  school  of  artists, 
carried  out  to  a  logical  issue,  and  with  marvellous 
perfection.  It  is  probable,  however,  that  the  repu- 
tation of  Sandys  will  rest  mainly  upon  his  por- 
traits of  Mrs.  Anderson  Rose,  1863,  Mrs.  Jane 
Lewis,  1864,  and  '  Medea,'  1869.  These  are  lumin- 
ous and  forcible  works,  brilliant  in  colouring,  full 
of  detail,  and  exquisitely  finished.  They  partake 
strongly  of  a  sympathy  with  early  Flemish  work, 


PAINTERS  AND  ENGRAVERS. 


©specially  being  reminiscent  of  such  masters  as 
Van  Eyck,  Van  der  Weyden,  and  Memlinc.  From 
these  men  he  learned  "  that  real  regard  for  truthful 
expression  in  subject  and  detail  which  the  pre- 
Eaphaelites  found  blended  with  more  spiritual 
qualities  in  fourteenth-century  Florentine  art." 
Towards  the  latter  part  of  his  life  Sandys  devoted 
himself  to  crayon  studies,  which  exhibit  his  remark- 
able technical  dexterity  and  his  decorative  feeling 
for  minute  details.  As  a  draughtsman,  his  line  in 
the  modelling  of  the  beauty  of  a  head  was  full  of 
exquisite  sensitiveness  and  nervous  musical  qual- 
ity. He  had  a  marvellous  sense  of  form,  but  he 
was  curiously  lacking  in  the  power  of  felicitous 
indication  and  in  imaginative  understanding.  His 
crayon  studies,  exquisitely  beautiful  though  they 
were,  did  not  enhance  his  reputation,  and  it  is  for 
his  handling  of  the  primitive  Flemish  technique  of 
oil  painting,  and  for  the  certainty  of  his  work  in 
his  half-dozen  great  pictures  that  he  will  be 
praised.  Of  his  personal  life  it  is  hardly  safe  to 
say  anything,  so  completely  did  he  ruin  his  chances 
of  a  great  reputation  by  his  blameworthy  and 
pitiable  career.  As  recently  as  March  1894  there 
was  an  exhibition  of  his  works  at  the  Leicester 
Gallery,  London,  arranged  by  his  stalwart  sup- 
porter Mr.  Ernest  Brown,  and  the  catalogue  had 
a  judicious  preface  by  Mr.  F.  G.  Stephens,  who  is 
now  almost  the  last  of  the  little  band  who  worked 
with  such  earnestness  and  devotion  under  the 
influence  of  the  pre-Raphaelite  Movement.  One 
of  the  finest  of  his  works  then  exhibited  was  a  full- 
length  study  of  a  girl  called  '  My  Lady  Green- 
sleeves,'  now  in  the  possession  of  Mr.  J.  S. 
Budgett  of  Stoke  Park,  Guildford.  Sandys  has 
frequently  been  the  subject  of  magazine  and 
other  articles,  but  the  only  thoroughly  reliable 
notice  of  his  life  and  works  appeared  as  the  winter 
number  of  '  The  Artist,"  Nov.  18,  1896.  It  was 
written  by  Esther  Wood,  and  was  issued  with 
extra  illustrations  in  specially  choice  form,  quarto, 
150  copies  only,  and  folio,  twenty  copies  only. 
From  this  memoir  and  from  personal  acquaintance 
most  of  the  above  information  is  taken.  There 
were  articles  upon  him  in  the  'Art  Journal,'  1884, 
by  Mr.  J.  M.  Gray,  and  others  by  the  same  author 
in  the  'Hobby  Horse'  of  1888  and  1892,  while 
Mr.  Pennell  wrote  respecting  Sandys  in  '  Pan,'  a 
German  publication,  in  1895,  and  later  on  in  the 
'Savoy,'  1896,  and  the  'Quarto,'  1896.  His  en- 
graved works  are  alluded  to  by  Gleeson  White  in 
his  'English  Illustration,'  and  they  are  illustrated 
in  'The  Art  Journal,'  1894,  'Cornhill  Gallery,' 
1865,  '  Savoy,'  1896, '  Quarto,'  1896, '  Hobby  Horse,' 
1888, '  Pan,'  1895,  Thornbury's  '  Historical  Ballads,' 
1876,  Pennell's  'Modern  Illustration,  Pictures  of 
Society,'  1866,  '  Idyllic  Pictures,'  1867,  and  Pen- 
nell's '  Pen  Drawing  and  Pen  Draughtsmen,'  1894. 
Some  of  his  works  were  exhibited  at  Mr.  Gambart's 
Gallery,  and  nine  were  hung  at  the  Grosvenor 
Gallery.  Q,  C.  W. 

SANDYS,  Edwyn,  is  mentioned  by  Strutt  as  the 
engraver  of  a  portrait  of  Sir  William  Petty. 

SAN6,  J.  P.,  a  French  painter,  born  about  the 
middle  of  the  18th  century.  He  worked  for  some 
time  at  Rome,  and  returning  to  his  native  country, 
died  in  1780  in  Paris.  His  works  are  little  known. 
A  '  Death  of  Socrates '  is  spoken  of  as  showing 
considerable  talent ;  there  are  further  two  genre 
pictures  by  him  in  the  Museum  of  Angers ;  and 
his  '  Lame  Man  at  the  Beautiful  Gate  of  the 
Temple,'  is  in  the  church  of  St.  Peter  at  Douai. 
C2 


SANESE,  Maestbo  Riccio.    See  Neroni. 

SAN-FELICE,  Ferdinando,  bom  at  Naples  in 
1675,  was  at  once  the  patron  and  the  scholar  of 
Francesco  Solimena.  He  attained  a  name  among 
historical  painters,  and  with  the  assistance  of  Soli- 
mena painted  altar-pieces  for  several  churches. 
He  also  painted  fruit,  landscapes,  and  perspective 
views,  in  which  he  particularly  excelled  ;  and  he 
had  the  reputation  of  being  an  excellent  architect. 
Solimena  painted  a  gallery  in  his  house,  which 
afterwards  became  an  academy  for  young  artists. 

SAN  FRIANO,  Maso  da.    See  Manzuoli. 

SANGALLO,  Sebastiano  da,  painter,  born  at 
Rome  in  1482,  son  of  Giuliano  Giamberti,  was  called 
Aristotile  for  his  knowledge  of  perspective  and 
anatomy.  He  was  a  pupil  of  Perugino,  but,  as  a 
painter,  worked  in  the  style  of  Michelangelo. 
He  copied  the  '  Cartoon  of  Pisa  '  in  oil,  in  grisaille, 
and  was  one  of  the  painters  summoned  to  Rome  by 
Buonarroti  when  he  began  the  Sistine  ceiling.  He 
afterwards  became  the  friend  of  Raphael,  after 
whose  designs  he  built  the  Palazzo  Pandolfini,  at 
Florence.  As  a  painter  most  of  his  activity  was 
given  to  ephemeral  work  in  theatres,  and  on  the 
fegades  of  houses.  See  Milanesi's  '  Vasari,'  vol.  vi. 
pp.  433-456.     He  died  in  1551. 

SAN  GIMIGNANO,  Sebastiano  da.    See  Mai- 

NARDI. 

SAN  GIMIGNANO,  Vicenzio  da.    See  Tamagni. 

SAN  GIORGIO,  Edsebio  di,  brought  up  in 
Perugia,  was  a  fellow-worker  with  Fiorenzo  di 
Lorenzo  and  Berto  di  Giovanni  in  1501.  He  was 
induced  to  join  Pinturicchio  at  Siena,  and  painted 
the  altar-piece  of  the  Epiphany  at  S.  Agostino,  in 
Perugia.  In  S.  Francesco  at  Matelica,  near  Fab- 
riano,  is  a  '  Holy  Family'  painted  by  him  in  1512, 
perhaps  his  best  work.  Other  works  of  his  may  be 
seen  at  Orvieto,  Assisi,  and  Perugia.  In  the  cloister 
of  the  Capuchin  Convent  of  S.  Damian  at  Assisi  are 
two  frescoes.  Lermolieff  ascribes  the  Standard 
preserved  at  Cittk  di  Gastello  as  an  early  Raphael 
to  Eusebio  di  San  Giorgio.     He  died  in  1650. 

SAN  GIOVANNI,  Cavaliere  Ebcole,  called 
Ercolino  di  Guido.  This  painter  was  a  native  of 
Bologna,  and  a  favourite  of  Quido  Reni.  He 
imitated  and  copied  the  works  of  his  instructor 
with  such  precision,  that  he  is  said  to  have  deceived 
the  master  himself.  Malvasia  reports,  that  Guido 
having  left  a  picture  in  a  half-finished  state,  Ercole 
copied  it,  and  placed  his  work  on  the  easel  of  his 
master,  who  proceeded  to  finish  it,  without  dis- 
covering the  deception.  Ercole  was  patronized  by 
Urban  VIII.,  who  conferred  on  him  the  honour  of 
knighthood.  He  died  young  at  Rome,  about  the 
year  1640. 

SAN  GIOVANNI,  Geraedo  da.     See  Haarlem. 

SAN  GIOVANNI,  Giovanni  da,  called  Manozzi, 
born  at  San  Giovanni  in  1590,  was  a  pupil  of 
Matteo  Roselli,  and  executed  a  great  number  of 
frescoes  at  Rome  and  at  Florence,  representing 
biblical,  historical,  and  mythological  scenes.  He 
had  much  facility,  and  in  his  colour  and  cliiaroscuro 
followed  Caravaggio  and  Spagnoletto.  He  died  in 
1636.     His  best  works  are — 

Fiesole.        ^tlTsJia^  }  Temptation  of  Christ. 
Florence.     Pitti  Palace.    Scenes   from  the  Life  of    St. 
Lawrence. 
„  „  A  Hunting  Tarty. 

„  The  A  cademy.    A  Flight  to  Egypt. 

„  Ognissanti.    In    the   Cloister;    five  scenes 

from  the  life  of  S.  Francesco. 
Rome.    Quattro  Coronati.    Frescoes  in  Semi-dome. 

19 


A  BIOGRAPHICAL  DICTIONARY  OF 


SAN  GIOVANNI,  Maso  da.    See  Guidi,  Tom- 

UASO. 

SANGSTER,  Samuel,  an  engraver,  bom  in  1804, 
was  a  pupil  of  Findon.  He  engraved  for  the 
annuals  and  for  the  '  Art  Journal.'  His  best  plates 
are — '  Neapolitan  Peasants  on  their  way  to  a  Festa,' 
after  Uwins ;  'The  Gentle  Student'  and  'The 
Forsaken,'  after  Newton.  He  died  in  London  in 
1872. 

SANGUINETO,  Rafael,  a  Spanish  noble  of 
the  17th  century,  who  practised  painting  as  an 
amateur,  and  was  the  intimate  friend  of  Alonzo 
Cano. 

SANGUINETTI,  Francesco.  This  clever  Italian 
sculptor  passed  the  early  part  of  his  life  as  a 
painter,  only  taking  up  with  sculpture  in  1831. 
He  was  born,  it  is  believed,  about  1800  at  Car- 
rara, and  he  died  in  1870  at  Munich,  where  for 
many  years  he  had  been  residing.  For  the  first 
few  years  of  his  artistic  career  he  was  a  very 
careful,  even  parsimonious  man,  saving  up  all  his 
money  in  order  to  acquire  property,  but  having  ob- 
tained it  he  lost  it  all  at  once  owing  to  the  fraudu- 
lent behaviour  of  a  friend.  He  had  a  favourite 
daughter,  a  very  lovely  girl,  who  in  the  prime  of 
her  beauty  when  about  nineteen  was  assassinated 
by  a  jealous  lover,  and  this  was  a  cause  of  the 
deepest  sorrow  to  him.  He  formed  a  valuable 
collection  of  paintings  by  old  masters,  spending 
his  money  upon  them  rather  than  upon  real  estate, 
but  was  swindled  out  of  all  of  them  by  a  rascal  of 
a  dealer,  and  finally,  through  the  bursting  of  a 
bubble  company  with  which  he  was  concerned, 
he  had  to  sell  the  very  house  in  which  he  lived, 
and  saw  all  his  savings  of  every  kind  swept 
away.  He  will  be  remembered  by  his  sculpture, 
the  best  of  which  is  at  Milan,  but  his  landscapes 
were  not  of  a  very  high  order.  He  died  in_  a 
state  of  great  depression,  overwhelmed  by  worries 
which  had  attended  him  throughout  the  whole  of 
his  life. 

SAN  MARTINO,  Marco,  (or  Sammabchi,)  an 
Italian  landscape  painter  and  engraver,  who 
flourished  about  1680.  It  is  in  dispute  as  to  whether 
he  was  a  native  of  Venice  or  Naples.  Lanzi  says 
he  resided  at  Rimini,  wliere  his  pictures  are  more 
generally  to  be  met  with.  He  ornamented  his 
landscapes  with  very  beautiful  small  figures,  in 
which  he  excelled.  He  also  attempted  works  pf  a 
higher  order,  such  as  the  '  Baptism  of  Constantine,' 
in  the  cathedral  of  Rimini,  and  the  '  Saint  preach- 
ing in  the  Desert,' in  the  college  of  S.  Vincenzio,  at 
Venice.  Bartsch  (P.  gr.  tom.  xxi.)  has  described 
33  prints  by  him,  many  of  which  have  his  name  in 
full,  Marco  San  Martino. 

SANNI,  Domingo  Maria,  a  Spanish  painter  who 
flourished  in  the  18th  century.  In  the  Madrid 
Museum  there  are  two  pictures  by  him,  but  the 
dates  of  his  birth  and  death  are  unknown. 

SANG,  E.  B.,  a  Belgian  painter  of  ruins  and 
interiors.     He  died  at  Antwerp  in  1878. 

SANO  DI  PIETRO  DI  MENICO,  (or  Ansano,) 
painter,  was  born  at  Siena  in  1406,  and  principally 
instructed  by  Stefano  di  Giovanni  Sassetta.  Sano 
di  Pietro  was  a  most  prolific  artist.  The  Library 
at  Siena  possesses  a  Codex  of  the  University  Statutes, 
and  a  Breviary  of  the  Nuns  of  St.  Clara,  with 
his  miniatures,  while  the  Academy  possesses  no 
fewer  than  46  pictures  by  him.  In  1428  he  furnished 
the  model  for  the  font  in  the  Baptistery  of  S. 
Giovanni  in  Siena.  In  1433  he  acted  as  valuator 
for    Sassetta.     He  died   in   1481.     Most   of    the 

20 


churches  near  Siena  possess  frescoes  by  him,  and 
many  of  the  chief  European  collections  paintings. 
An  'Ascension  of  the  Virgin'  in  the  Academy  at 
Siena,  a  '  Coronation  of  the  Virgin '  in  the  Town- 
hall,  and  a '  Virgin  and  Saints  '  in  the  church  of  S. 
Girolamo,  in  Siena,  are  among  his  best  works.  His 
other  chief  pictures  are — 

raris.  Louvre.    Five  Scenes  from  the  Life  of  St. 

Jerome. 
Kome.  Vatican  Museum.    Scenes  from  the   Life  of  the 

Virgin.     A  Predella. 
Siena.  Cathedral  Library.    Several     Antiphonaries    with 

miniatures. 

SAN  SEVERING,  Jacopo  di,  brother  of _  the 
elder  Lorenzo  di  San  Severino,  whom  he  assisted 
in  the  fresco  in  San  Giovanni  Battista,  at  Urbino, 
dated  1416. 

SAN  SEVERINO,  Lorenzo  di,  was  born  in 
1374.  In  1416  he  and  his  brother  Jacopo  decorated 
the  oratory  of  San  Giovanni  Battista  at  Urbino 
with  frescoes,  (which  still  remain,  though  much 
defaced  by  time,)  representing  scenes  from  the  life 
of  St.  John  the  Baptist,  and  the  Crucifixion.  Tha 
latter  is  inscribed,  "  M.C.C.C.C.X.V.I.  die  xvii, 
Julii.  Laurentius.  de.  Santo.  Severino.  et.  Jacobus, 
frater.  ejus.  hoc.  opus,  fecerunt." 

SAN  SEVERING,  Lorenzo  di,  another  artist  of 
the  same  name,  and  supposed  to  be  a  son  of 
Lorenzo.  Three  works  by  him  exist,  dated  from 
1481  to  1483  ;  the  first  is  in  the  sacristy  of  a  church 
at  Pansola  near  Macerata;  the  second  is  a  fresco  in 
the  collegiate  church  of  Sarnano  ;  and  the  third  is 
a  panel  in  the  National  Gallery,  representing  the 
Marriage  of  St.  Catharine,  with  four  saints.  The 
last  picture  is  signed  Laurentitis  II  Severinasphit. 
SANSGNE,  II.  See  Marchesi,  Giuseppe. 
SANTA  CROCB,  Francesco  di  Simone  da,  some- 
times called  Eizo,  was  bom  in  the  village  of  Santa 
Croce  in  the  latter  part  of  the  15th  century.  In 
his  youth  he  went  to  Venice,  and  is  thought  to 
have  been  a  pupil  of  Carpaccio  or  Previtali,  both 
of  whose  styles  he  greatly  affects,  though  in  a 
picture  of  the  '  Madonna  and  Saints '  now  in  the 
church  of  S.  Pietro  Martire,  Murano,  he  signs  him- 
self a  pupil  of  Bellini.  His  earliest  known  work  is 
the  'Annunciation,'  painted  in  1504  for  the  church 
of  S.  Spino,  near  Croce,  and  his  latest  the  altar- 
piece  of  the  Madonna  and  six  Saints  in  the  church 
of  Chirignano,  near  Mestre.  Pictures  by  him  may 
be  found  in  the  Loohis  Carrara  Gallery,  Bergamo, 
which  possesses  three  examples,  and  in  the  Berlin 
Gallery.  An  '  Epiphany '  and  'Noli  Me  Tangere  ' 
are  in  the  Venice  Academy.  The  date  1541  occurs 
upon  one  of  his  pictures  (an  altar-piece  in  a  village 
church  near  Mestre),  but  its  authenticity  is  not 
beyond  dispute.  The  latest  year  anterior  to  it  is 
1529. 

SANTA  CROCE,  Girolamo  da,  a  relative  of 
Francesco  da  Santa  Croce,  was  born  in  the  early 
part  of  the  16th  century.  He  is  said  to  have  been 
a  pupil  of  Bellini,  and  to  have  painted  at  Venice 
from  1520  (which  is  the  date  of  the  altar-piece 
in  the  church  of  San  Silvestro,  an  enthroned  St. 
Thomas  k  Becket  between  St.  John  the  Baptist 
and  St.  Thomas)  to  1549,  when  he  completed  the 
'  Last  Supper '  at  San  Martino.  In  1527  he  painted 
the  'Charity  of  S.  Martin'  for  the  church  of 
Luvigliano,  near  Padua;  and  in  1532  he  executed 
fourteen  frescoes  representing  scenes  in  the  life  of 
St.  Francis  of  Assisi,  in  the  Scuola  di  Francesco 
della  Vigna,  Venice,  which  have  now  vanished. 
The  convent  church  still  contains  a  fresco  of  the 


a 


O 


O 
Q 


GIROLAMO  DA  SANTA  CROCK. 


Hauf^laiigl  photo] 


TWO  SAINTS. 


[Xalh'iia/  CiaHcry 


PAINTERS  AND  ENGRAVERS. 


'  Christ  in  Benediction,'  and  a  small  picture  of  the 
'Martyrdom  of  St.  Lawrence.'  Other  works  by 
tliis  Santa  Croce  are  : 

Beilin.  Museum.  The  Epiphany. 

„  „  Christ  carryiiig  His  Cross. 

„  „  The  Cruciirxion. 

„  „  Martyrdom  of  St.  Sebastian. 

Dresden.  Gallery.  The  Nativity. 

„  „  The  Martyrdom  of  S.  Lawrence, 

lioudon.     Nat.  Gallery.  Two  figures  of  Saints. 


SANTAFEDE,  Fabrizio,  the  son  of  Francesco 
Santafede,  was  born  at  Naples  in  1560.  He  was 
first  instructed  by  his  father,  but  he  afterwards 
became  a  scholar  of  Francesco  Curia,  and  at  length 
visited  Rome,  where  he  remained  two  years,  study- 
ing the  principal  objects  of  art  in  that  capital.  On 
his  return  to  Naples  he  was  employed  in  several 
considerable  works  for  the  public  edifices.  For 
the  church  of  the  Nunciata  he  painted  a  '  Nativity,' 
and  an  '  Annunciation  to  the  Shepherds  ; '  for  S. 
Maria  de  Constantinopoli,  an  '  Adoration  of  the 
Magi,'  and  for  S.  Maria  Nuova  a  ceiling.  He  died 
at  Naples  in  1634. 

SANTAFEDE,  Francesco,  bom  about  1519,  was 
a  Neapolitan,  and  a  scholar  of  Andrea  Sabbatiiii, 
called  da  Salerno.  There  are  many  of  his  works 
in  the  churches  at  Naples,  of  which  the  best,  per- 
haps, is  the  '  Coronation  of  the  Virgin,'  in  S.  Maria 
Nuova. 

SANT  AGNESE,  Stefano  da,  otherwise  known 
as  "the  Pievan  of  Sant  Agnese,"  is  the  author  of 
an  enthroned  Madonna,  signed,  and  dated  1369, 
now  in  the  Correr  Museum,  Venice.  The  Academy 
of  that  city  possesses  a  'Coronation  of  the  Virgin,' 
signed  by  Stefano  in  1381.  Nothing  further  is 
known  of  him. 

SANTAGOSTINI,  Giacinto  and  Agostino,  the 
Bons  of  Giacomo  Santagostino,  painted  in  the 
17th  century.  Among  their  joint  works  were 
large  pictures  for  S.  Fedele  in  Milan.  They  also 
painted  many  works  independentlj'  of  each  other, 
and  Agostino  was  the  author  of  a  little  treatise  on 
the  pictures  in  Milan,  called  '  L'Immortalitk  et 
Glorie  del  Pennello,'  published  in  1671. 

SANTAGOSTINO,  Giacomo  Antonio,  born  at 
Milan  in  1588,  was  a  scholar  of  Giulio  Cesare 
Prooaccini,  under  whom  he  became  a  very  reput- 
able artist.  He  painted  several  pictures  for  the 
churches  of  Milan,  particularly  for  S.  Lorenzo 
Maggiore,  S.  Maria  del  Lantasio,  and  S.  Vittore. 
He  died  in  1648. 

SANTARELLI,  Gaetano,  painter,  a  noble  of 
Pescia,  was  a  pupil  of  0.  Dandini.     He  died  young. 

SANTELLI,  Felice,  a  Roman  painter  of  the 
16th  century.  He  painted  for  the  church  of  the 
P.  P.  Spagnuoli  del  Riscatti  Scalzi,  in  competition 
with  Baglione.  Lanzi  mentions  a  signed  picture 
by  him  in  the  church  of  Santa  Rosa,  at  Viterbo. 

_  SANTEN,  Gerard  van,  a  Dutch  painter  of  battle- 
pieces,  who  was  much  patronized  by  Prince 
Frederick  Henry  of  Orange.  In  1629  he  was 
received  into  the  Guild  of  St.  Luke,  at  the  Hague, 
and  in  1650  he  was  still  at  work. 

SANTERRE,  Jean  Baptiste,  a  French  painter, 
born  at  Magny,  near  Pontoise,  in  1658,  was  a 
pupil  first  of  Franyois  Lemaire,  and  then  of  Bon 
Boulogne.  He  was  very  careful  as  to  his  processes, 
making  many  experiments  in  pigments,  and  finally 
restricting  himself  to  five,  on  which  he  could,  as  he 
thought,  depend,  and  delaying  the  varnishing  of 
liis  pictures   for   ten  years.     His  works  are   few. 


The  best  are  'Susanna  and  the  Elders,'  and  a 
female  portrait,  in  the  Louvre  ;  a  '  Mary  Magdalene 
penitent,'  and  a  '  Saint  Theresa,'  at  Versailles. 
Santerre  formed  an  academy  for  female  students, 
from  which  he  drew  many  of  his  models.  His 
portraits  and  domestic  subjects  are  carefully  de- 
signed and  harmonious  in  colour.  Many  of  his 
works  have  been  engraved.  He  died  in  Paris  in 
1717. 

SANTI,  Antonio,  a  native  of  Rimini  and  a  pupil 
of  Cignani,  died  in  1700.  The  great  promise  shown 
in  his  early  works  was  robbed  of  fruition  by  a 
premature  death. 

SANTI,  Bartolommeo,  a  native  of  Lucca,  who 
studied  at  Bologna,  and  practised  as  a  scene- 
painter  and  decorator  in  the  18th  century. 

SANTI,  DoMENico,  called  Mengazzino,  (Mingac- 
CIN",)  was  born  at  Bologna  in  1621,  and  was  one 
of  the  ablest  disciples  of  Agostino  Metelli.  He 
nearly  equalled  his  instructor  in  painting  perspec- 
tive and  architectural  views.  The  churches  and 
palaces  at  Bologna,  particularly  S.  Colombano,  the 
Servi,  and  the  Palazzo  Ratta,  possess  many  of  his 
works,  which  are  embellished  with  figures  by 
Giuseppe  Metelli,  Gio.  Antonio  Burrini,  and  espe- 
cially by  Domenico  Maria  Canuti.  He  also 
painted  pictures  of  a  small  size,  which  are  fre- 
quently mistaken  for  the  works  of  Agostino  Metelli. 
He  died  in  1694. 

SANTI,  Giovanni,  the  son  of  a  general  dealer 
and  the  father  of  Raphael,  was  born  at  Castello  di 
Colbordolo,  in  the  territory  of  Urbino,  about  1435. 
He  himself  was  brought  up  to  his  father's  trade, 
and  was  probably  induced  to  study  art  through 
his  acquaintance  with  Melozzo  da  Forii  and  Pietro 
della  Francesca.  His  earliest  known  works  are  the 
frescoes  in  the  church  of  S.  Domenico,  at  Cagli, 
representing  the  Resurrection  and  a  Madonna  En- 
throned among  four  Saints.  In  1483  his  son 
Raphael  was  born  in  the  Contrada  del  Monte, 
Urbino,  in  a  house  purchased  by  Santi  in  1464.  In 
1484  Santi  painted  an  altar-piece  for  the  church 
of  Gradara,  near  Pesaro,  representing  the  Virgin 
and  Child,  with  Saints.  In  1491  his  wife,  Magia 
Ciarla,  died,  leaving  her  son  eight  years  old.  The 
fresco  still  extant  in  Santi's  house,  a  Virgin  with 
the  Sleeping  Infant  pressed  to  her  bosom,  is  said  to 
have  been  painted  from  his  first  wife  and  her  little 
son  Raphael.  In  1492  Santi  married  Bemardina, 
the  daughter  of  a  jeweller  named  Piero  di  Parte. 
Giovanni  Santi  was  one  of  the  best  Umbrian 
painters  of  his  time.  His  style  is  simple  and  un- 
affected, but  there  is  an  unpleasant  coldness  about 
his  colouring.  His  best  works  are  considered  to  be 
a  '  Madonna  with  Saints,'  in  the  church  of  San 
Francesco  in  Urbino  ;  a  '  Madonna  with  Saints,'  in 
the  convent  of  Montefiorentino,  near  Urbino ;  a 
'  Visitation  of  the  Virgin,'  in  Santa  Maria  Nuovo, 
and  a  'Madonna  with  Saints'  in  the  Hospital 
Church  of  Santa  Croce,  the  two  last  being  both  at 
Fano,  and  an  '  Enthroned  Madonna '  in  fresco,  in 
the  Dominican  Church  at  Cagli  (dated  1492).  He 
was  a  poet  as  well  as  a  painter,  and  left  a  Chronicle 
in  rhyme,  still  preserved  in  the  Vatican,  entitled 
'  Gesta  gloriosa  del  Duca  Federigo  d'Urbino.'  He 
died  at  Urbino  in  1494.     Additional  works  : 


Berlin. 
Milan. 
Kome. 
Urbino. 


Gallery.    Two  altar-pieces. 
Brera.     An  Annunciation. 
Lateran.     An  enthroned  St.  Jerome. 

TseLstian^]  Martyrdom  of  St.  Sebastian. 
Gallery.    Madonna  with  four  Saints. 

21 


A  BIOGRAPHICAL  DICTIONARY  OF 


SANTI,  PiETBO,  commonly  called  Pietbo  Bak- 
TOLi,  and  sometimes  II  Pebuqino,  from  his  birth- 
place, was  born  at  Perugia,  about  the  year  1635. 
In  the  early  part  of  his  life  he  studied  under  Le 
Maire  and  N.  Pouesin,  and  practised  painting,  but 
abandoned  it,  to  devote  himself  entirely  to  engrav- 
ing, in  which  he  greatly  distinguished  himself  by 
the  merit  and  number  of  his  plates.  He  died  at 
Rome  in  1700.  His  plates  are  chiefly  etched,  and 
his  point  is  extremely  free  and  masterly.  He  some- 
times marked  his  works  P.  B.  F.,  but  more  fre- 
quently Petr.  Ss.  Bart.,  sc.  Romm.  The  number 
of  his  prints  is  very  considerable  ;  the  following  list 
comprises  the  best: 

Admiranda  Romanomm  Antiquitatum  ac  veteris  Sculp- 

turtB  Vestigia  ;  eighty-one  plates. 
Homana  maunitiulinis   Monumenta ;  one   hundred   and 

thirty-eight  plates. 
Teteres  arms  Augustorum  triumphis  insigncs;  fifty-two 

plates. 
Colonna  di  Marco  Aiirelio,  4^c,,  the  Antoniue  Column ; 

seventy-eight  plates. 
Colonna  Trajana,  di  Alfonso  Ciacconi ;  one  hundred  and 

twenty-eight  plates. 
Sepolcri  antichi   Eomani  ed   Etrusclii  troxati  in  Roma; 

one  hundred  and  twenty-three  plates. 
The  Nozze  Aldobraudini ;  two  sheets. 
Le  Pitture  antiche  delle  grotte  di  Roma,  ^c.  ;  assisted  by 

F.  Bartoli ;  ninety-four  plates,  1680  and  1706. 
Le  antiche  Lucerne  sepolcrali  in  Roma,  1691  and  1704  ; 

one  hundred  and  nineteen  plates. 
Antiqtdssimi   I'irgiliani  Codicis  fragmenta  et picture,  ex 

Bibl.  I'aticana;  fifty-five  plates. 
Scenes  from  the  Lite  of  St.  Peter ;  after  Lanfranco. 
Subjects  from  '  Kaphael's  Bible ' ;  forty-two  plates. 
Grottesques ;   after  Rapliael ;  inscribed   Parerga   atque 

ornamenta  in'J^aticano,  #c.  ;  forty-three  plates. 
Jupiter  hurling  thunderbolts  at  the  Giants ;  after  Giulio 

Romano. 
The  Birth  of  the  Virgin;  after  Aliani. 
The  Virgin  and  Child  in  the  Clouds ;  after  L.  Carracci. 
Coriolanus  and  his  Family ;  after  An.  Carracci. 
S.  Carlo  Borromeo  led  by  an  Angel ;  after  the  same. 
Daniel  in  the  Lions'  Den  ;  after  Pietro  da  Cortona. 
St.  John  preaching  ;  after  P.  F.  31ola. 
The  Adoration  of  the  Magi;  after  Raphael;  in  three 

sheets. 
Jupiter  nursed  by  Anialthea ;  after  Giulio  Romano. 
Hylas  carried  off  by  Nymphs ;  after  the  same. 
Sophonisba  before  Masinissa ;  after  the  same. 
The  Continence  of  Scipio  ;  after  the  same. 
St.  Stephen  ;  from  his  own  design. 
St.  Bernard  enchaining  the  Devil ;  do. 
Theatre  erected  in  St.  Peter's  for  a  Canonization  ;  do. 
The  sepulchral  Monument  of  Pope  Urbau  VIll ;  do. 

SANTI,  Raphael.    See  Sanzio. 

SANTI,  Sebastiano,  a  painter,  born  at  Venice 
in  1788,  was  first  a  restorer  of  pictures,  and  then 
a  painter  in  fresco.  His  works  are  to  be  found  in 
the  Venetian  churches.     He  died  in  1866. 

SANTI  DI  TITO.     See  Tito. 

SANTIAGO  PALOMARES,  Feancisco  Xavieb 
DE,  born  at  Toledo  in  1728,  was  a  learned  writer, 
an  ingenious  emblazoner  of  state  documents,  and 
a  skilful  designer.  He  held  an  office  as  receiver  of 
crown  rents,  and  was  also  much  employed  in  copy- 
ing manuscripts  for  the  royal  libraries.  In  these, 
and  in  literary  pursuits,  he  was  occupied  for  up- 
wards of  thirty  years.  He  assisted  Bayer  in  the 
formation  of  the  Index  to  the  ancient  Hebrew, 
Greek,  Latin,  and  Spanish  manuscripts  in  the 
Escurial ;  wrote  on  the  topography  of  Spain,  of 
her  geographical  po.sition  in  America,  and  of 
matters  ecclesiastical  and  political.  But  he  is 
noticed  here  mainly  for  his  artistic  talents,  as  a 
painter  of  landscapes,  and  an  ornamental  designer 
of  frontispieces  for  books  in  Indian  ink  and  with 

22 


the  pen.  He  painted  in  oU  four  views  of  Toledo, 
several  portraits  of  distinguished  persons,  and  a 
number  of  landscapes.  He  had  a  peculiar  aptitude 
for  the  designing  of  frontispieces,  and  his  talent 
was  in  great  request  by  authors  and  publishers  for 
that  purpose.  These  will  be  found  prefixed  to 
many  of  the  books  printed  in  Spain  during  the 
second  half  of  the  last  century.  He  died  at  Madrid 
the  13th  of  January,  1796. 

SANTILLANA,  JnAN  de,  a  skilful  glass  painter 
of  Burgos,  practising  towards  the  close  of  the  15th 
century.  Jointly  with  Juan  de  Valdivieso  he 
worked  in  the  cathedral  of  Avila,  where  he  painted 
(in  1497)  four  windows  by  the  '  Altar  de  Gracia,' 
one  of  which,  representing  St.  John,  still  exists. 
He  also  painted  scenes  from  the  life  of  Christ  for 
the  windows  of  the  Cloister  Library,  and  a  '  Resur- 
rection,' for  the  cathedral. 

SANTINI.  Two  painters  of  this  name  were 
living  at  Arezzo  in  the  17th  century.  They  were 
distinguished  as  'the  Elder'  and  'the  Younger.' 
Lanzi  mentions  a  '  St.  Catharine '  by  Santini  the 
Elder  in  the  cloister  of  the  Conventual  Friars  of 

SANTINO  de'  RITRATTI.     See  Vandi,  Sante. 

SANTIS,  Orazio  di,  an  engraver,  probably  a 
native  of  Aquila,  flourished  from  1568  to  1.577, 
according  to  the  dates  on  his  prints,  which  are 
chiefly  after  the  designs  of  Pompeo  Aquilano. 
Bartsch  has  described  seventeen  prints  by  Santis, 
and  supposes  tliat  there  are  others  which  have  not 
come  to  his  knowledge.  Nagler  has  added  74 
plates  of  antique  statues  at  Rome,  the  joint  work 
of  Santis  and  Cherubino  Alberti,  published  in  1584. 

SANTISIMO  SACRAMENTO,  Feat  Juan  del. 
See  Guzman,  Juan  de. 

SANTO-DOMINGO,  Feat  Vicente  de.  This 
Spanish  monk  is  entitled  to  notice  as  being  the  first 
instructor  of  Navarrete,  called  el  Mudo,  and  for 
his  discernment  of  his  pupil's  talents  at  a  very 
early  age.  He  taught  him  all  that  he  himself 
knew,  and  then  very  honestly  advised  his  friends 
to  send  him  to  Italy  for  improvement.  Four 
pictures  in  the  church  at  Estrella  were  attributed 
to  Santo-Domingo,  but  it  is  now  ascertained  that 
they  were  painted  in  1659  by  Navarrete,  when,  for 
the'  benefit  of  his  health,  he  had  permission  from 
Philip  II.  to  reside  at  LogroSo.  But  Santo-Domingo 
painted  the  grisailles  on  the  walls  of  the  cloister, 
and  other  pictures  which  are  in  the  convent  of 
S.  Catalina  de  Talavera  de  la  Reyna. 

SANTO,  GiROLAMO,  (SoEDO,)  called  Gieolamo  di 
Padova,  an  artist  of  the  16th  century,  who  painted 
the  facade  of  the  Cornaro  Palace,  several  frescoes 
in  S.  Francesco,  and,  with  Parentino,  scenes  from 
the  life  of  St.  Benedict  in  S.  Giustina,  all  at  Padua. 
A  curious  picture  of  a  genealogical  tree  in  the 
Santo  is  also  ascribed  to  him.  Of  his  fife  Uttle  is 
known,  but  his  existence  can  be  traced  as  late  as 
1546. 

SANTO  PERANDA,  was  bom  at  Venice  in  1566. 
According  to  Ridolfi,  he  was  first  a  scholar  of 
Palma  Giovine,  and  afterwards  of  Leonardo  Corona, 
of  Murano.  He  executed  several  considerable  worka 
for  the  Ducal  palace  at  Venice  and  for  the  Dukes 
of  Mirandola  and  Modena.  There  is  a  picture  by 
him  in  the  Ducal  palace  representing  the  defeat  of 
the  Turks  by  the  Venetians.  His  'Descent  from 
the  Cross  '  is  in  the  church  of  S.  Procolo.  He  died 
in  1638. 

SANTO  RINALDI,  called  II  Tromba,  a  painter 
of  battles,  landscapes,  and   architecture,  bom  at 


GIOVANNI   SANTI 


Hanfitaiigl  f'lioto]  ^Ba-lin  Gallery 

THE   MADONNA  AND  CllILU   WITH  SAINTS 


GIOVANNI   SANTI 


Woodbury  Co.  pkoto] 


MADONNA  AND  CHILD 


\_National  Gallery 


PAINTERS  AND  ENGRAVERS, 


Florence  about  1620,  waa  a  pupil  of  Furini.  Though 
eminent  in  his  day,  little  is  known  of  his  history; 
he  is  supposed  to  have  died  in  1676. 

SANTOS  CRUZ,  a  Spanish  painter,  who  worked 
on  the  high  altar  of  Avila  cathedral,  with  Pedro 
Berruguete,  from  1475  to  1499. 

SANTOS,  JtJAN,  a  fresco  painter,  flourished  at 
Cadiz  in  1662.  He  was  much  employed  in  paint- 
ing standards  for  the  Spanish  nary.  It  is  also 
recorded  that  he  painted  little  pictures  to  please 
certain  ladies  of  Andalusia,  which  may  occasionally 
be  found  in  very  private  cabinets. 

SANTO  ZAGO,  or  ZASO.     See  Zago. 

SANTVOOKT,  Dirk  van,  supposed  to  be  the 
Bon  of  Anthonis  Santvoort,  an  obscure  engraver, 
painted  history  portraits  somewhat  in  the  manner  of 
Rembrandt.  He  was  practising  in  1635  ;  there  are 
prints  after  him  by  Jonas  Suyderhoef  and  Theodore 
Matham.  A  picture  by  him  in  the  Louvre  repre- 
sents '  Christ  and  the  Two  Disciples  at  Emmaus  ; ' 
but  his  chief  excellence  was  in  portraiture,  as  is 
shown  in  the  group  of  four  ladies  in  the  Workhouse 
at  Amsterdam.  The  date  of  his  death  is  unknown. 
Fiissli  mentions  a  certain  S.  van  Santvoort  as 
practising  in  Holland  in  the  18th  century. 

SANTVOORT,  Pieteb,  a  painter  of  Haariem. 
The  only  record  of  him  now  extant  is  the  registra- 
tion of  his  death  in  1681,  but  a  landscape  in  the 
manner  of  J.  Van  Aken  has  been  attributed  to  him, 
and  has  been  engraved. 

SANUTO,  or  SANNUTUS,  Giulio,  an  Italian 
engraver,  was  bom  at  Venice  about  the  year  1530. 
His  prints  are  executed  in  a  coarse,  heavy  style, 
with  single  strokes,  without  any  hatching,  and 
have  a  certain  resemblance  to  wood-cuts :  among 
them  we  may  name  : 

Venus  and  Adonis ;  after  Titian. 

The  Marriage  of  the  Virgin  ;  after  Raphael ;  with  the 

engraver's  mark. 
The  monstrous  Child,  signed  Jul.  Sanmdus  Venet  Fac. 

The  birth  of  this  monstrous  child  took  place  at  Venice 

in  1540:  the  mother  was  a  German. 
Two  winged  Genii  in  the  air  supporting  a  globe,  on 

which  stands  Cupid  discharging  an  arrow  to  the  left 

of  the  priut ;  no  name  of  engraver. 
Dance  of  Bacchanals  in  a  wood ;  signed  Julitts  San- 

ITOTUS.  F. 

Apollo  and  Marsyas,  after  Correggio,  with  the  Parnassus, 
after  Raphael,  in  three  sheets. 

SAN  VITO.     See  Amalteo,  Pomponio. 

SARABIA,  Francisco  Antolines,  nephew  of 
Josef  de  Sarabia,  bom  at  Seville  in  1644,  studied 
for  the  law,  but  afterwards  took  to  art,  and  went 
to  Madrid  to  study  in  the  school  of  Murillo.  He 
received  a  judgeship  at  Seville,  but  eventually  re- 
turned to  Madrid,  where  he  took  orders,  and  died 
in  1700. 

SARABIA,  Josef  de,  a  Spanish  painter,  born  at 
Seville  in  1608,  was  first  placed  with  Agustin  del 
Castillo,  and  .after  that  master's  death  in  1626,  with 
Francisco  Zurbaran.  He  chiefly  resided  at  Cordova, 
where  he  painted  many  pictures  and  altar-pieces 
for  the  churches.  He  was  not  deficient  in  merit,  but 
he  took  his  subjects  from  prints  by  Sadeler,  some 
of  which  were  after  Rubens,  and  imposed  them  on 
the  ignorant  as  his  own  inventions.  The  best 
original  work  of  Sarabia  is  the  '  Flight  into  Egypt,' 
which  is  entirely  his  own  composition.  He  died  at 
Cordova  in  1669. 

SARACENI,  (or  Saracino,  Saracini,)  Carlo, 
called  Veneziano,  a  painter,  born  in  Venice  in 
1585.  According  to  Baglione,  be  visited  Rome 
during    the    pontificate    of   Clement    VIII.,    and 


Rome. 


was  for  some  time  under  the  tuition  of  Camillo 
Mariani,  but  afterwards  studied  and  imitated  tlie 
manner  of  Caravaggio.  He  returned  to  Venice, 
whither  he  had  been  invited  to  paint  a  picture  for 
the  council-chamber,  but  did  not  live  to  finish  it. 
He  died  in  1625.  Saraceni  engraved  a  few  plates 
from  his  own  designs,  which  he  signed  usually 
Carolus  Saracenus  invent.    Pictures : 

Munich.        Pinakothek.    The  Death  of  the  Virgin. 
„  St.  Francis  of  Assisi. 

„  St.  Jerome. 

S.Maria  in  \  ^^^^^  ^j  ^^^  y^^_ 
Trastevere.  J  ° 

<S.  Simone.     Virgin  enthroned. 
Quirinal.     Several  Frescoes. 
Doria  Palace.     Eepose  in  Egypt. 
Borghese  Palace.    Joseph  interpreting  Dreams. 
„         Sciarra  Palace.    Beheading  of  the  Baptist. 
Yenice.  Ilanfrini  Palace.    Scene  from  the  Deluge. 

SARAZANA.     See  Fiasella. 

SARAZLN  DE  BELMONT  Louise  Josephine, 
painter  and  lithographer,  was  born  at  Versailles  in 
1790.  She  was  a  pupil  of  Valenciennes,  and  was 
several  times  premiated.  From  1812  till  1868  she  ex- 
hibited a  very  large  number  of  works  at  the  Salon, 
her  subjects  being  principally  landscape  views,  with 
various  effects  of  light.  Of  her  essays  in  another 
manner  we  may  mention  '  Gil  Bias '  and  '  Don 
Alphonso'(1822);  '  Herminia  and  Tancred '  (1824). 
Examples  of  her  work  are  to  be  seen  in  the  galleries 
of  Angers,  Nantes,  and  Toulouse.    She  died  in  1871. 

SAKBOT.  By  an  artist  of  this  name,  who  flour- 
ished about  1675,  we  have  a  print  of  '  Christ  pray- 
ing in  the  Garden,'  supported  by  an  angel.  It  is 
probably  from  his  own  design,  as  he  adds  the  word 
fecit  to  his  name. 

SARBRUCK,  Babtholome  von,  painter,  born  at 
Treves  about  1590,  and  called  Trevirensis,  worked 
in  Basle  and  in  Bern,  and  painted  several  portraits 
in  the  style  of  Vandyck. 

SARGENT,  Frederick,  painter,  exhibited  por- 
traits at  the  Royal  Academy  from  1854  to  1874. 
Among  them  may  be  mentioned  '  The  Duchess  of 
Buccleuch'  (1871),  and  'The  Countess  Spencer' 
(1874).  He  also  painted  scenes  in  the  House  of 
Commons,  the  Royal  Garden  Party,  &c.  He  died 
after  a  short  illness  in  1899.  U;  H. 

SARGENT,  Henry,  painter,  was  born  at  Glou- 
cester, Massachusetts,  on  November  25,  1770.  He 
studied  in  London  under  Copley  and  West.  Re- 
turning to  America,  he  settled  at  Boston,  and 
painted  genre  and  historical  pictures.  Several 
portraits  by  him  are  in  the  possession  of  historical 
and  other  societies  at  Boston.  He  died  on  February 
21,1845.  M.H.     ■ 

SARMIENTO,  Teresa,  Duchess  of  Bejar,  an 
amateur  historical  painter  of  much  talent,  who 
painted  pictures  for  various  churches  in  Madrid, 
where  she  was  living  towards  the  middle  of  the 
17th  century. 

SARRABAT,  Daniel,  painter,  bom  at  Paris  in 
1666.  Three  prize  pictures  by  him  are  recorded  : 
'Noah  entering  the  Ark'  (1686),  'The  Deluge' 
(1687),  'Noah  leaving  the  Ark'  (1688);  but  ho 
never  took  part  in  any  public  exhibitions,  and 
though  received  by  the  Academy  in  1702,  did  not 
become  a  full  member.  He  died  at  Lyons,  June 
22nd,  1748. 

SARRABAT,  Isaac,  a  French  mezzotint  en- 
graver, born  at  Les  Andelys  about  1660.  He  was 
one  of  the  earliest  artists  of  his  country  who  prac- 
tised that  mode  of  engraving,  and  his  plates  ara 

23 


A  BIOGRAPHICAL  DICTIONARY  OF 


very  indifferently  execated.     Among  others,  we 
have  the  following  prints  by  him : 

J.  B.  Bossuet,  Bishop  of  Ueaox  ;  after  Rigaui. 
Antoine  Coypel,  Painter  to  the  King ;  after  Netseher. 
Etienne  Gantrel,  Engraver  to  the  King ;  after  Largil- 

Here. 
The  Confessor ;  in  two  plates ;  after  N.  van  Haeften, 
Heraclitus,  half-length ;  after  M.  Corneille. 

SARRAGON,  John,  an  engraver  and  publisher, 
who  flourished  about  the  year  1645.  His  plates 
were  mostly  portraits. 

SARRAZIN,  B^NiGNE,  painter,  the  son  and  pupil 
of  Jacques  Sarrazin,  was  granted  a  pension  by 
Louis  XIV.  to  enable  him  to  complete  his  studies 
at  Rome,  and  after  his  father's  death  was  allowed  to 
retain  the  latter's  lodging  in  the  Louvre.  His  only 
recorded  work  was  a  series  of  paintings,  which  he 
executed  in  1674,  in  the  chapel  of  the  Hotel  de 
Ville  at  Marseilles,  but  these  were  some  years  ago 
destroyed  during  an  alteration  of  the  building.  He 
died  in  Paris  in  1692. 

SARRAZIN,  Jacques,  the  elder,  the  famous 
French  sculptor,  born  at  Noyon  in  1588,  painted  a 
few  pictures.  D'Argenville  speaks  of  a  'Holy 
Family'  and  four  rnedallions  at  the  'Minimes'  in 
Paris,  so  beautiful  that  they  might  be  taken  for  the 
work  of  Lesueur.  In  the  Rennes  Museum  there  is 
a  pencil  drawing  by  him,  and  Duret  engraved 
some  of  his  Madonnas.     He  died  in  Paris  in  1660. 

SARRAZIN,  Jean  Baptiste,  professor  at  the 
Academy  of  St.  Luke  at  Paris,  held  an  appoint- 
ment as  decorative  painter  at  the  court  of  Louis 
XVI.  He  exhibited  a  few  landscape  and  marine 
views  between  1762  and  1793.  , 

SARTAIN,  Emily,  bom  in  Philadelphia  in  1841, 
daughter  of  John  Sartain,  and  a  pupil  in  Paris  under 
Evariste  Luminals.  She  worked  for  some  time  in 
Parma,  and  then  returned  to  the  United  States  and 
exhibited  largely,  her  chief  picture,  'The  Reproof,' 
being  shown  at  the  Centeimial  Exhibition  in  Phila- 
delphia in  1876,  and  very  highlj-  commended.  She 
is  said  to  have  died  in  1891, but  the  date  is  uncertain. 

SARTAIN,  John,  painter  and  engraver,  was 
bom  in  London  in  1808.  After  studying  engraving 
in  London  he  went  to  America  in  1830,  and  in 
1842  became  proprietor  of 'Campbell's  Magazine,' 
and  editor  of 'Sartain's  Union  Magazine,' in  both 
of  which  his  work  appeared.  His  reputation  was 
made  by  his  mezzotint  engravings,  among  which 
may  be  mentioned  his  '  Christ  Rejected,'  after 
Benjamin  West ;  '  The  Iron- Worker  and  King 
Solomon,'  after  C.  Schussele ;  'The  Battle  of  Gettys- 
burg,' after  P.  F.  Rothermel ;  '  Eugenie,  Empress 
of  France,  and  the  Ladies  of  her  Court,'  after 
Winterlialter;  and  'William  Penn,'  after  II.  Inman. 
He  made  designs  for  several  monuments,  among 
them  those  of  Lafayette  and  Washington  at  Phila- 
delphia, and  also  engraved  several  book-plates. 
He  was  a  member  of  the  Philadelphia  Academy  of 
Fine  Arts.  He  died  at  Philadelphia  on  October  25, 
1897.  M.  H, 

SARTAIN,  William,  American  painter  and 
etcher  ;  born  at  Philadelphia  in  1843,  where  he 
became  a  student  of  the  Art  School,  and  sub- 
sequently worked  under  Bonnat  and  Yvon  in  Paris. 
After  residence  at  Rome,  England,  Algiers,  Seville, 
and  the  Netherlands,  he  settled  in  New  York  as 
professor.  Of  his  works  we  may  mention  his 
'  Street  in  Algiers,'  '  Arab  Graveyard,'  and  '  Canal 
in  Venice.'     He  died  in  1891. 

SARTARELLI.     See  Saltarello. 

SARTI,  Antonio,  an  Italian  painter,  practising 
about  1600,  mentioned  by  Baldassini  in  his  '  Storia 

24 


di  Jesi,'  where  he  highly  commends  a '  Circumcision' 
in  the  collegiate  church  of  Massaccio. 

SARTI,  Ercole,  called  II  Mcto  di  Ficarolo, 
was  born  at  Ficarolo,  a  town  in  the  duchy  of  Fer- 
rara,  in  1593,  of  a  respectable  family,  and  was  deaf 
and  dumb  from  his  birth.  Before  he  was  sixteen 
years  of  age,  on  the  occasion  of  a  solemn  proces- 
sion, he  placed  on  the  front  of  his  father's  house 
a  picture  he  had  painted  in  secret,  representing 
the  'Adoration  of  the  Magi.'  This  unexpected 
production  was  the  object  of  general  astonishment, 
and  its  author  was  placed  under  Carlo  Bononi,  at 
Ferrara.  He  afterwards  imitated  the  style  of  Ippolito 
Scarsellino,  his  contemporary.  The  principal  pic- 
tures of  Sarti  are  in  the  church  of  the  Benedictines, 
in  his  native  to\vn.  He  also  painted  a  portrait  of 
Pope  Sylvester,  now  in  the  Costabili  Gallery.  He 
died  about  1637. 

SARTO,  Andrea  del.    See  Andbea  d'Aqnolo. 

SARTORI,  Enrico,  Italian  painter;  born  at 
Parma  in  1831,  where  he  received  his  first  instruc- 
tion ;  made  his  name  as  a  landscape  painter,  and 
six  of  his  works,  mostly  views  of  Parma,  are  now 
to  be  seen  in  the  Art  Gallery  of  that  city.  He 
died  in  1889. 

SARTORIUS,  Jakob  Christopher,  an  engraver 
of  Nuremberg,  whose  portraits  and  book-illus- 
trations bear  dates  from  1694  to  1737. 

SARTORIUS,  J.  F.,  the  elder  son  of  John  N. 
Sartorius,  bom  about  1775,  and  dj-ing  about 
1830.  He  was,  like  his  father  and  grandfather,  a 
painter  of  sporting  subjects,  but  it  is  not  very 
easy  to  distinguish  his  works  from  those  of  his 
father,  as  he  frequently  signed  them  with  his 
surname  only.  There  is  a  large  collection  of 
works  by  the  family  at  Elsenham  Hall,  and  Sir 
Walter  Gilbey  wrote  articles  on  the  Sartorius 
family  in  '  Baily's  Magazine '  for  January  and 
February  1897,  and  these  are  almost  the  only 
sources  of  information  respecting  him  and  his 
father.  He  exhibited  at  the  Royal  Academy  in 
1802,  and  was  then  resident  at  Holborn.  His 
best  picture  is  a  portrait  of  the  Marchioness  of 
Salisbury  riding  at  Hatfield,  which  appeared  at 
the  Academy  in  1806. 

SARTORIUS,  John  N.  This  artist  is  believed  to 
have  been  born  about  1755,  and  is  said  to  have 
died  in  1828.  He  exhibited  at  the  Royal  Academy 
from  1781  to  1824,  and  his  pictures  are  of  sporting 
subjects,  most  of  them  horses  and  dogs  and 
hunting-scenes.  Very  many  of  them  were  en- 
graved in  mezzotint  and  aquatint  by  such  en- 
gravers as  Walker,  Webb,  and  Peltro.  His  best- 
known  picture,  perhaps,  represents  the  famous 
horse  '  Eclipse,'  but  this  was  executed  from  a 
pencil  drawing  done  by  his  father,  Francis 
Sartorius.  Many  of  his  best  pictures  belong  to 
Sir  Walter  Gilbey,  whose  articles  in  '  Baily's 
Magazine,'  January  and  February  1897,  contain 
all  the  information  that  is  known  respecting  him. 

SARZANA.     See  Fiaselli. 

SARZETTI,  Angiolo,  an  artist  of  the  Bolognese 
school,  bom  at  Rimini.  For  the  church  of  the 
Angioli,  in  his  native  town,  he  executed  some 
paintings  in  oil  and  in  fresco.  He  was  a  pupil  of 
Cignani,  and  flourished  about  1700. 

SAS,  Christian,  a  German  engraver,  who  flour- 
ished from  about  1630  to  1660.  He  engraved 
several  plates,  among  which  are  forty-five  scenes 
from  the  life  of  St.  Philip  Neri,  after  Stella.  There 
are  some  other  plates  by  him,  after  II  Pomerancio, 
and  other  masters. 

SASC,  Julie  de,  (nee  Lisiewska,)  painter,  bom 


PAINTERS  AND  ENGRAVERS. 


in  Saxony,  1724.  She  was  the  pupil  of  her  father, 
Georg  Lieiewski,  and  lived  for  some  time  at  the 
Hague,  where  she  became  a  member  of  the  Pictura 
Society  in  1767.     She  died  at  Berlin  in  1794. 

SASONOFF,  Wabsily  Kondratiewitsch,  Rus- 
sian painter ;  born  in  1789  at  Gomel  (Mohileff), 
and  studied  at  the  St.  Petersburg  Academy  under 
Ougrumoff.  His  picture  of  '  The  Grand  Duke 
Dmitri  Donskoi  after  Koulikovo  '  is  in  the  Hermit- 
age at  St.  Petersburg.     He  died  in  1870. 

SASS,  Henry,  portrait  painter,  son  of  an  artist, 
was  born  in  London  in  1788.  His  first  work  was 
the  '  Descent  of  Ulysses  into  Hell,'  and  in  1816  he 
went  to  Rome.  He  never,  however,  obtained  much 
reputation  as  an  artist,  though  he  was  very  success- 
ful as  an  elementary  teacher.  Many  of  the  chief 
English  painters  of  the  19th  century  passed  through 
his  school.  He  died  in  1844.  (See  '  Reminiscences,' 
by  W.  P.  Frith  ;  London,  1887.) 

SASSE,  Richard,  a  water-colour  painter,  born 
in  1774,  exhibited  landscapes  at  the  Academy  from 
1791  to  1813.  In  1811  be  was  appointed  teacher 
to  the  Princess  Charlotte,  and  landscape  painter  to 
the  Prince  Regent.  In  1815  he  travelled  on  the 
Continent,  and  eventually  settled  in  Paris,  where 
he  died  in  1849.  He  was  a  cousin  of  Henry  Sass, 
but  lengthened  his  name  by  an  e.  There  are 
examples  of  his  work  at  South  Kensington. 

SASSETTA.     See  Stefano. 

SAS6I,  GiovAKNi  Battista,  flourished  at  Milan 
in  the  18th  century,  was  a  pupil  of  Solimena,  in 
Naples,  but  returned  in  1715  to  Milan,  where  he 
painted  several  altar-pictures,  and  completed  some 
pictures  left  unfinished  by  Pietro  Giraldi. 

SASSOFERATO.    See  Salvi. 

SASSOLI,  Fabiano,  a  painter  upon  glass,  who 
flourished  at  Arezzo  in  the  15tb  century.  His  son, 
Staqio,  excelled  his  father  in  the  same  art,  and 
was  a  collaborateur  witli  Domenico  Pecori,  and 
later  with  the  famous  Guillaume  de  Marseilles. 

SASSONE,  II.    See  Mengs,  Anton  Rafael. 

SATTLER,  JoHANN  Michael,  born  at  Neuberg, 
in  Austria,  in  1786,  was  a  pupil  at  the  Vienna 
Academy,  but  settled  at  Salzburg.  He  painted 
panoramas,  which  he  exhibited  in  the  chief  German 
towns.    He  died  at  Mattern,  near  Salzburg,  in  1847. 

SAUBERLICH,  Lorenz,  a  German  engraver 
on  wood,  who,  according  to  Professor  Christ,  pub- 
lished some  wood-cuts  at  Wittemberg  in  the  year 
1599.  He  used  a  cipher  composed  of  an  L.  and 
an  S.     He  is  supposed  to  have  died  in  1613. 

SAUERWEID,  Alexander,  Russian  painter  and 
etcher ;  born  at  Kurland  in  1783 ;  studied  at  the 
Dresden  Academy ;  in  1814  the  Emperor  Alexander 
summoned  him  to  St.  Petersburg.  He  painted 
battle-pieces  somewhat  in  the  style  of  Horace 
Vernet,  and  h»  also  published  sereral  effective 
etchings  of  cavalry  and  cavalry  skirmishes,  the 
war  scenes  dealing  with  the  campaigns  of  1813 
and  1814.     He  died  at  St.  Petersburg  m  1844. 

SAUNDERS,  George.  The  artistic  work  that 
brings  this  eminent  architect  within  the  scope  of 
'  Bryan's  Dictionary  '  was  chiefly  a  series  of  draw- 
ings he  made  of  the  bridges  of  Middlesex  in  1825 
and  1826,  when  with  other  magistrates  he  had  to 
inspect  them.  He  also  produced  a  fine  elevation 
for  the  extension  of  the  British  Museum,  designed 
in  1804.  His  architectural  work  no  longer  appears 
at  the  Museum,  as  the  building  he  erected  was 
removed  in  1852.  He  was  a  great  authority  on 
brick  architecture,  and  made  several  drawings  of 
I  the  brick  churches  at  Verona.     He  was  born  in 


1762,  spent  most  of  his  life  in  London,  and  died 
in  1839. 

SAUNDERS,  Joseph,  an  English  miniature 
painter,  working  in  London  towards  the  end  of  the 
18th  century.  He  had  an  extensive  practice,  and 
was  employed  principally  as  a  painter  of  ladies' 
portraits.  "From  1778  to  1797  he  exhibited  occa- 
sionally at  the  Academy.  His  son,  R.  Sadnders, 
practised  the  same  art. 

SAUNIER,  Noel,  studied  under  Pils  and  his 
father,  and  was  a  frequent  exhibitor  at  the  Salon. 
He  painted  genre  subjects.  He  died  in  1890,  at 
the  age  of  forty-two. 

SAURA,  Mosen  Domingo,  a  Spanish  painter  of 
the  17th  century,  bom  at  Lucena,  in  Valencia.  On 
the  death  of  his  wife  he  became  a  priest,  and 
devoted  himself  with  much  success  to  the  art  of 
painting.     His  works  are  numerous  at  Valencia. 

SAUTAI,  Paul  Emile,  French  painter  ;  bom  at 
Amiens,  January  29,  1842  ;  came  to  Paris  in  1860 
and  entered  the  Ecole  des  Beaux  Arts ;  studied 
with  Robert-Fleury  and  Jules  Lefebvre,  and  from 
1865  to  1870  lived  and  worked  in  Italy.  His 
works  exhibited  at  the  Salon  dealt  mainly  with 
scenes  of  monastic  life,  such  as  :  '  Convent  de  San 
Benedetto,'  'P(51erins  devant  la  Chapelle  de  San 
Pietro,'  '  Interieur  de  Couvent,'  &c.  He  obtained 
a  medal  in  1870,  a  second-class  medal  in  1870,  a 
third-class  medal  at  the  Exhibition  of  1878,  and  a 
gold  medal  in  1889.  In  1885  he  received  the 
Legion  of  Honour.     He  died  in  1901. 

SAUTERLEUTHE,  Joseph,  a  celebrated  painter 
upon  glass,  born  at  Weingarten  in  1796.  He  was 
a  pupil  of  Isopi,  and  began  his  career  in  the  china 
factory  of  Ludwigsburg,  but  in  1812  went  to 
Nuremberg  to  perfect  himself  in  the  art  of  glass- 
painting.  In  1837  he  painted  twelve  windows 
for  Prince  Tliurn-and-Taxis  at  Ratisbon,  and, 
jointly  with  Vortel  of  Munich,  he  executed  the 
windows  in  the  hall  of  the  Minnesanger  in  the 
Landsberg  Schloss  at  Meiningen.  Fine  examples 
of  his  art  are  preserved  in  the  Hertel  Collection  at 
Nuremberg,  consisting  of  paintings  on  glass  after 
Albrecht  DUrer's  '  Life  of  the  Virgin.'  He  died  at 
Nuremberg  in  1843. 

SAUTOY,  Jacques  LjSon  du,  French  painter ; 
born  in  Paris,  October  18,  1817  ;  for  a  long  time 
he  held  the  Directorship  of  the  Art  School  at 
Fontainebleau  ;  and  here  he  died  on  September  22, 
1849. 

SAUV AG E,Antoine, called  Lemire  the  younger, 
to  distinguish  him  from  his  father,  Gabriel  Charles 
Sauvage,  called  Lemire.  He  was  a  French  painter 
of  history  and  portraits.  He  was  born  at  Lun^- 
ville,  and  died  in  the  last  quarter  of  the  18th  cen- 
tury. His  wife,  nde  Sophie  Brinisholtz,  was  also 
a  painter. 

SAUVAGE,  Jean  Baptiste,  a  French  painter  of 
the  17th  century.  In  the  museum  at  Valenciennes 
there  is  by  him  a  portrait  of  Jean  Baptiste  Rousseau. 

SAUVAGE,  Joseph  Gri^goire,  a  Flemish  minia- 
ture painter  and  enameller  of  the  18th  century, 
who  was  painter  to  Duke  Charles  of  Lorraine  for 
seventeen  years.  On  the  death  of  his  patron  he 
was  reduced  to  great  poverty,  and  is  said  to  have 
died  in  the  hospital  of  St.  Peter  at  Brussels. 

SAUVAGE,  PiAT  Joseph,  was  born  at  Tournai 
in  1744,  and  studied  at  the  Academy  at  Antwerp. 
He  essayed  several  styles  of  painting,  and  finally 
adopted  that  of  has-relief,  in  which  he  became 
eminent.  He  settled  for  a  considerable  time  in 
Paris,  where  his  works  were  in  high  estimation. 

25 


A  BIOGRAPHICAL  DICTIONARY  OF 


In  1808  he  returned  to  his  own  city,  where  he 
taught  in  the  Drawing  Schooh  Hie  paintings  in 
has  relief  are  to  be  seen  in  the  museums  of  Toumai, 
Antwerp,  Montargis,  Montpellier,  Montauban,  Lille, 
and  Toulouse.  He  imitated  marbles  and  ancient 
terra-cottas  with  great  success,  and  painted  por- 
celain in  enamel.  Van  Spaendonck  occasionally 
added  flowers  in  his  pictures.  He  died  at  Toumai 
in  1818. 

SAUVAGEOT,  Charles  Thi^odore,  painter,  bom 
in  Paris  in  1826,  was  a  pupil  of  Isabey.  He  ex- 
hibited landscape  views  of  French  scenery  at  the 
Salon  from  1863  onwards,  and  died  at  Fontainebleau 
in  1883. 

SAUVAGEOT,  Denis  Francois,  painter,  bom  in 
Paris  in  1793,  was  a  pupil  of  C.  Bourgeois.  He 
painted  landscapes  and  interiors,  and  was  an  occa- 
sional exhibitor  at  the  Salon  from  1822  to  1831. 

SAUVAGEOT,  D£sir£e  Charlotte  {nee  Gal- 
liot), bom  in  Paris  in  1800,  was  a  pupil  of  Bouchet. 
From  1819  to  1848  she  exhibited  portraits  and  genre 
pictures. 

SAUVAIGNE,  Louis  Padl,  a  French  marine 
painter,  and  pupil  of  Corot  and  Daubigny,  was 
born  at  Lille  in  1827.  He  exhibited  at  the  Salon 
from  1870  onwards,  practising  chiefly  at  Lille,  He 
died  at  Trouville  in  1885. 

SAUVAN,  Philippe,  painter  and  engraver,  born 
at  Aries  in  1695,  studied  under  Parocel  and  in 
Italy.  He  painted  several  altar-pieces  in  Arles^ 
Aix,  and  Avignon  ;  also  portraits.  His  son  Pierrb 
and  his  daughter  Gabrielle  also  painted.  He 
died  at  Avignon  in  1789.  There  are  examples  of 
Lis  work  in  the  Museum  of  Avignon. 

SAUVfi,  Jean,  a  French  engraver  of  little  note, 
who,  according  to  Basan,  flourished  about  the  end 
of  the  17th  century.  He  engraved  after  Guido,  P. 
da  Cortona,  &c.,  also  some  portraits. 

SAUVE,  Jean  Jacques  Theodore,  a  French  en- 
graver and  lithographer,  was  born  \a  Paris  in  1792. 
He  was  a  pupil  of  David,  and  has  left  some  litho- 
graphs after  heads  by  Raphael  in  the  Vatican 
frescoes.     He  died  in  1869. 

SAVAGE,  John,  an  English  engraver,  who  re- 
sided in  the  Old  Bailey  about  1680.  He  engraved 
the  portraits  of  many  convicted  malefactors,  also 
those  of  some  who  fell  in  a  better  cause,  as  Walpole 
puts  it.  Among  his  portraits  we  may  name  those 
of: 

William  III.  and  Queen  Mary. 

Bishop  Latimer. 

John  Alasco. 

Algernon  Sidney. 

Archibald  Campbell,  Earl  of  Argyle. 

Henry  Cornish,  SlieriiT  of  London. 

Sir  Edmundbury  Godfrey. 

John  Gadbury,  Astrologer. 

James  Fitzroy,  Duke  of  Momnouth. 

Sir  Thomas  Armstrong. 

Sir  Henry  Chauncey,  Antiquary. 

Chief  Justice  Sir  Henry  PoUexfen. 

Arthur,  Earl  of  Torrington. 

Charles  Leigh,  M.D. 

He  also  engraved  some  of  the  plates  for  Tempest's 
'Cries  of  London,'  and  Evelyn's  'Numismata.' 

SAVAGE,  William,  painter  and  engraver,  was 
born  about  1785.  He  studied  in  the  Academy 
Schools,  and  published  '  Practical  Hints  on  Decor- 
ative Painting,  with  Illustrations  engraved  on  wood 
and  printed  in  colours  by  the  type  press.'  London, 
1822. 

SAVALO, ,  a  skilful  illuminator  of  the  12th 

century,  practising  at  Arras  about  1180.     In  the 

26 


Library  at  Valenciennes  there  is  a  Gospel  finely 
illuminated  by  him. 

SAVART,  Pierre,  French  engraver,  born  in 
Paris  in  1750.  He  produced  several  plates  in  the 
neat,  finished  style  of  Ficquet ;  among  them  the 
following  portraits  of  illustrious  Frenchmen  : 

Louis  XIV.;  after  Riyaud,     1771. 

Louis  de  Bourbon,  Prince  de  Conde ;  after  Le  Juste. 

1776. 
Jean  Baptiste  Colbert ;  after  P.  de  Champagne.    1773. 
J.  B.  La  Bruyere  ;  after  St.  Jean.     1773. 
Pierre  Bayle  ;  after  the  same.     1774. 
Jean  Racine  ;  after  Santerre.     1772. 
Nicholas  Boileau   Despreaui ;  after  Eigaud ;   an  oval, 

1769. 
Eabelais:  after  Sarrahat.     1767. 
Cartlinal  Kichelieu ;  after  P.  de  Champagne. 
Kicholas  de  Catinat,  Marechal  de  France. 
Comte  de  Buifon  ;  after  Drouais.     1776. 
Bossuet ;  after  Eigaud.     1773. 
D'Alembert ;  after  Catherine  Lusurier.     1780. 
Montesquieu.    1779. 

SAVARY,  AuGUSTE,  painter,  bom  at  Nantes  in 
1799,  a  pupil  of  Boissier.  He  exhibited  many 
French  landscapes  at  the  Salon  from  1824  to  1859. 

SAVERY,  Jakob,  the  elder,  born  at  Courtrai, 
practised  at  Amsterdam  about  1550.  He  was  the 
father  of  Jakob  Savery  the  younger,  and  the 
master  of  Willem  van  Nieulant.  He  excelled  in 
painting  animals,  birds,  and  fishes. 

SAVERY,  Jakob,  the  younger,  painter,  was 
born  at  Couitrai  about  the  year  1545,  and  was  a 
disciple  of  Hans  Bol.  He  painted  landscapes  and 
animals,  which  he  finished  with  great  labour  and 
patience,  though  in  a  hard,  dry  style.  He  died  of 
the  plague  at  Amsterdam  in  1602.  At  the  Hague 
there  is  a  '  Kermesse  of  St.  Sebastian  '  by  him. 

SAVERY,  Jan,  a  Flemish  painter  and  engraver, 
born  at  Courtrai  in  1597.  According  to  Huber, 
he  was  the  nephew  of  Roelandt  Savery,  and  was 
probably  his  scholar,  as  he  painted  landscapes  in 
a  similar  style.  He  died  in  1655.  We  have  several 
etchings  by  this  artist,  from  his  own  designs,  among 
which  are  the  following: 

A  set  of  six  mountainous  Landscapes,  with  figures,  in- 
scribed J.  Saveri/,fec.  Aic.  de  Clerc.  exc. 

A  Landscape,  with  a  Stag-hunt ;  J.  Savery,  fee.  H. 
Hondius. 

A  Landscape,  with  Samson  killing  a  Lion ;  J.  C.  J'iss- 
cher,  exc. 

SAVERY,  Roelandt,  the  son  of  Jakob  Savery  the 
elder,  was  born  at  Courtrai  in  1576,  and  instructed 
by  his  brother,  Jakob  the  younger.  It  has  been  sup- 
posed that  he  was  afterwards  a  disciple  of  Paul  Brill ; 
but  this  cannot  be  reconciled  with  chronology,  as 
that  artist  had  left  Flanders  for  Italy,  where  he 
passed  the  remainder  of  his  life,  before  Savery  was 
of  an  age  to  profit  by  his  instruction.  The  resem- 
blance of  his  style  to  that  of  Brill  is  not  more  ap- 
parent than  to  that  of  Brueghel,  and  other  Flemish 
landscape  painters  of  the  time.  Savery  visited 
France  in  the  reign  of  Henry  IV.,  by  whom  he  was 
employed  in  the  royal  palaces.  Soon  after  his 
return  to  the  Low  Countries,  he  was  invited  to  the 
court  of  Prague,  by  Rudolph  II.,  in  whose  service 
he  passed  a  great  part  of  his  life.  By  the  direction 
of  the  Emperor  he  travelled  through  the  Tyrol, 
where  the  scenery  was  entirely  to  his  taste.  The 
studies  he  made  there  were  of  great  use  in  his  later 
works.  After  the  death  of  the  Emperor,  he  settled 
at  Utrecht,  and  died  there  in  1639.     Works  : 

Amsterdam.  R.  Museum.    Orpheus. 

„  „  Landscape  with  Hunt. 

Dresden.  Gallery.    Hunting  a  Soar. 


(ilOVANNI    GIROLAMO  SAYOLDO 


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PAINTERS  AND  ENGRAVERS. 


Dresden.  Galleiy.  A  Mountain  Torrent, 

„  „  The  Ark  of  Noah. 

„  „  Five  other  Landscapes. 

London.  N'at.  Gallery.  Orpheus  charming  the  Beasts. 

Munich.  Finakothek.  A  Boar-hunt. 

SAVERY,  Solomon,  (Savry,)  a  Dutch  engraver, 
born  at  Amsterdam  in  1594.  From  liis  having 
engraved  a  few  English  portraits,  he  is  said  to 
have  visited  this  country,  but  it  is  not  certain  that 
he  did  so.     The  following  are  his  principal  plates  : 

Charles  I.  with  a  high-crowned  hat,  a  view  of  West- 
minster in  the  background. 

OHver  Cromwell.     1C49. 

John  Speed,  the  Historian. 

Thomas,  Lord  Fairfax. 

Christ  driving  the  Money-changers  out  of  the  Temple  ; 
after  Rembrandt. 

SAVILL,  — ,  was  a  painter  living  in  London  at 
the  time  of  the  Restoration.  He  painted  portraits 
of  Samuel  Pepys  and  his  wife,  and  also  a  miniature 
portrait  of  the  former,  for  which  he  was  paid  £3. 

SAVILLE,  Dorothea,  an  English  portrait 
painter.  She  practised  in  London  in  the  first  part 
of  the  17th  century.  Some  of  her  works  were 
engraved  by  Hollar  and  Thomas  Cross. 

SAVOLDO,  Giovanni  Girolamo,  was  a  native  of 
Brescia,  born  about  1-180  —  possibly  as  late  as 
1484-1485.  Brescia  at  that  time  gave  birth  to 
many  of  the  best  artists  of  the  Venetian  School — 
notably  to  Girolamo  Romanino,  who  was  born, 
like  Savoldo,  at  Brescia  about  1485,  to  Bonvicino 
or  Moretto,  Romanino's  fellow-worker  at  Brescia 
in  1521,  and  to  Moretto's  own  pupil  Moroni,  born 
about  1525.  All  these  artists  happen  to  be  well 
represented  in  the  National  Gallery. 

Moroni's  '  Brescian  Nobleman'  and '  Tailor '  (roj- 
liapanni)  are  masterpieces  of  his  silvery  manner  ; 
and  Savoldo's  '  St.  Mary  Magdalen  approaching 
the  Sepulchre '  is,  in  its  own  way,  no  less  at- 
tractive. This  figure,  with  its  mysterious  charm 
(which  is  repeated  in  the  Berlin  Gallery),  is 
characteristic  of  the  artist,  in  his  love  of  twilight 
effects  and  the  gleam  of  reflected  light.  She 
seems  less  the  devoted  woman  of  the  Bible  story 
than  some  fair  Venetian,  stepping  down  to  her 
gondola  for  the  evening's  rendezvous — this  tigure 
with  the  lovely  face  peeping  archly  out  beneath 
the  veil  of  white  shimmering  satin.  Here  too 
appears  just  that  romantic  element  which  Savoldo's 
art  niiglit  have  drawn  from  Giorgione  ;  just  as 
he  shares  the  love  of  dim  liglit,  which  appears 
again  in  his  '  Adoration  of  Shepherds  '  in  the  same 
(National  Gallery)  collection,  with  the  later 
Bassani.  Savoldo's  treatment  of  this  subject 
('  Adoration  of  Shepherds '),  set  in  a  beautiful 
Giorgionesque  landscape,  is  peculiarly  impressive 
in  his  painting  in  the  "Turin  Gallery.  The  colour- 
ing here — as  in  the  beautiful  painting  mentioned 
next — is  cold  and  rather  Brescian  than  Vene- 
tian in  character.  To  be  noted  next  in  the  same 
collection  is  his  '  Holy  Family  '  ;  while  the  grave 
sweetness  of  the  Virgin's  type  reappears  in  a 
signed  and  dated  (1527)  picture  at  Hampton  Court. 
The  attendant  Saints  in  the  above  painting  of  the 
Turin  Gallery  are  SS.  Francis  and  Jerome  ;  and 
the  present  Director  of  that  Gallery  is  of  opinion 
that  both  are  by  the  same  master,  and  that  both 
— as  LermoliefE  was  the  first  to  notice,  though 
neither  of  these  interesting  paintings  are  signed 
— are  by  the  Brescian  artist,  Savoldo.  The  Louvre 
Gallery   contains  two   male  portraits  (Nos.  1518, 


1519)  attributed  to  Savoldo  :  (1)  Portrait  of  armed 
man  against  a  glass,  who  is  said  to  be  Gaston  de 
Foix — a  very  clever  portrait  study  ;  (2)  Grand  por- 
trait of  unknown  man,  black  cap,  grey-green  robe, 
clean-shaved  face,  holds  a  letter  in  his  gloved 
right  hand.  More  important  is  the  fine  signed 
altar-piece  of  the  Brera  Gallery  at  Milan.  The 
'  Virgin  and  Child '  are  represented  with  SS.  Peter, 
Dominic,  and  Jerome ;  this  work  comes  from  the 
church  of  St.  Dominic  at  Pesaro.  A  study  in 
black  chalk,  for  the  head  of  the  fine  '  St.  Jerome 
in  the  Desert,'  in  the  late  Sir  Henry  Layard's  Col- 
lection, is  also  in  the  Louvre  Gallery.  In  S. 
Maria  del  Organo  at  Verona,  in  a  side  chapel  on 
left,  is  a  '  Virgin  and  Child  in  the  Clouds,'  with  SS. 
Peter,  Benedict,  Zeno,  and  Paul.  Aretino,  in  a  letter 
dated  December  1548,  mentions  Savoldo  as  one 
of  the  famous  Venetian  artists  of  that  time,  though 
already  touching  the  decline  of  his  powers  ;  and 
Cav.  A.  Venturi  adds  that  the  Aretine  calls  him 
a  fanciful  {capriccioso)  painter,  alluding  in  this  con- 
nection especially  to  that  'Magdalen'  already 
mentioned.  Had  "  Romanticism  "  been  invented 
in  Titian's  age,  the  later  epithet  might  have  been 
preferred.  "The  '  Head  of  a  Youth,'  in  the  Borghesa 
Gallery  at  Rome, — a  half-figure,  Venetian  in 
feeling,  with  full  hair  and  hand  extended — might 
be,  according  to  Cav.  V^enturi,  a  study  for  the  St. 
John  of  the  Berlin  Gallery  '  Deposition.'  In  any 
case  this  painting  is  a  most  interesting  study — 
superb  in  colour  and  strong  in  drawing,  the  rich 
flesh  tones  contrasting  effectively  with  the  white 
linen  and  dark-coloured  jerkin. 

Savoldo  was  long  resident  at  Venice,  and  his 
'Adoration  of  the  Shepherds'  in  S.  Giobbe  of 
that  city  is  of  especial  beauty.  A  replica  of 
this  picture  is  in  the  Tosio  Gallery  of  Brescia. 
His  name  occurs  twice  in  the  pages  of  the  '  Ano- 
nimo,'  where  I  find — in  the  excellent  version 
edited  by  Dr.  Williamson — at  Venice,  in  the  house 
of  Messer  Andrea  di  Odoni,  1532,  "  the  large 
figure  of  a  woman,  nude,  lying  down,  painted  on 
the  back  of  the  bed  by  Gerolamo  Savoldo  of 
Brescia";  and  again,  in  the  house  of  Messer 
Francesco  Zio  at  Venice,  1512 — "The  canvas, 
representing  Christ  washing  the  disciples'  feet, 
is  by  Giovanni  Gerolamo  of  Brescia."  These 
two  paintings  have  in  neither  case,  to  my  know- 
ledge, hitherto  been  traced,  although  one  is  said 
to  be  in  Bucharest.  Coming  to  Florence,  we  find 
among  the  Venetians  in  the  second  "Sala,"  the 
'Transfiguration  of  Christ'  in  the  presence  of 
SS.  Peter,  John,  and  James — a  painting  on  wood. 
Both  this,  and  the  same  subject  in  the  Ambrosian 
Library  at  Milan,  may  be  replicas  of  some 
original  work  by  the  artist  on  this  subject ;  but 
the  visitor  to  Milan  must  on  no  account  overlook 
the  grand  Brera  altar-piece  mentioned  above. 
Aretino's  verdict  we  have  already  seen,  and  it 
must  be  added  that  both  Giorgio  Vasari  and  Ridolfi 
(Delle  Meraviglie  dell'  Arte)  alike  have  a  good 
word  for  this  Brescian  artist. 

If  he  is  less  distinctively  Brescian,  in  his 
technique  and  feeling,  than  his  fellow-countrymen, 
Romanino,  Moretto,  or  Moroni,  if  he  comes  nearer 
to  Giorgione  and  Titian  in  their  glow  of  living 
colour,  he  yet  marks  a  transition  from  the  purely 
Venetian  tradition.  It  is  through  his  scenes  of 
twilight  mystery  and  light  imprisoned  in  the  folds 
of  silk  that  we  are  a  little  later  to  reach  those  cool 
silvery  flesh  tints  of  the  great  Brescian  portraitist,. 
Gian  Battista  Moroni.  s  B. 

27 


A   BIOGRAPHICAL  DICTIONARY  OF 


SAVOLINI,CRiSTOFORO,pamter,offlieBolognese 
Bchool,  a  native  of  Cento,  and  a  pupil  of  Cristoforo 
Serra.  He  painted  a  good  picture  of  the  patron 
saint  for  tiie  ciiurch  of  S.  Colombia,  at  Rimini.  He 
was  still  living  in  1678. 

SAVONA,  II  Pretb  di.    See  Guidoboko. 

SAVONANZI,  Emilio,  a  nobleman  of  Bologna, 
bom  in  1680,  who  attached  himself  to  painting 
when  nearly  arrived  at  manhood.  He  had  many 
masters ;  among  them  Lodovico  Carracci,  Guido, 
Guercino,  and  Algardi,  the  sculptor.  He  resided 
at  Ancona,  and  at  Camerino,  where  he  died  in 
1660.  His  principal  work  is  'The  Marriage  of  St. 
Catharine'  at  Camerino. 

SAVORELLI,  Gaetano,  painter  and  draughts- 
man, flourished  at  Rome  from  1750  to  1775.  He 
is  chiefly  known  as  having  made  drawings  from 
Giovanni  da  V  dine's  grotteschiin  the  Loggia  of  the 
Vatican,  from  which  Giovanni  Ottaviani  engraved. 

SAVORELLI,  Sedastiano,  a  priest  of  Forli  and 
pupil  of  Cignani.  He  was  practising  in  1690,  and 
painted  for  the  churches  of  Forli  and  its  neigh- 
bourhood. 

SAVOYE,  Daniel,  portrait  painter  and  etcher, 
was  born  at  Grenoble  in  1644,  and  is  said  to  have 
been  a  pupil  of  Sebastien  Bourdon.  His  signature, 
D.  S.  sc,  is  found  on  a  riposo,  in  which  the  Virgin 
is  seated  near  a  fountain  attended  by  three  angels. 
Some  small  etchings  of  soldiers,  and  of  costumes 
of  the  time  of  Louis  XIII.,  bear  the  same  initials. 
In  the  Dresden  Gallery  there  is  a  portrait  of  the 
artist's  wife  by  himself.  He  died  at  Erlangen  in 
1716. 

SAVOYEN,  Caeel  van,  was  born  at  Antwerp  in 
1619,  and  painted  many  subjects  from  Ovid  in  a 
email  size  ;  he  was  fond  of  painting  the  nude, 
but  his  drawing  was  not  equal  to  his  colour.  He 
died  at  Antwerp  in  1669  (?  1680). 

SAXON,  James,  portrait  painter,  a  native  of 
Manchester,  exhibited  at  the  Academy,  1795,  and 
then  went  to  Edinburgh ;  he  returned  in  1805  to 
London,  but  afterwards  spent  some  prolific  years 
in  St.  Petersburg.  On  his  return  he  took  up  his 
residence  at  Glasgow,  but  finally  came  to  London, 
where  he  died  in  1816  or  1817.  His  portrait  of  Sir 
W.  Scott,  holding  a  large  dog,  has  been  engraved. 

SAXTON,  CHRiSTorHER,  a  native  of  Yorkshire 
and  a  domestic  in  the  service  of  Thomas  Sekeford, 
Esq.,  Master  of  Requests,  is  remembered  for  his 
complete  set  of  maps  of  the  counties  of  England 
and  Wales,  many  of  which  he  engraved  himself, 
while  in  others  he  was  assisted  by  R.  Hogenberg, 
Augustine  Ryther,  and  other  engravers.  Master 
Eyther  bore  the  expense  of  the  series,  which  was 
published  in  1579,  and  dedicated  to  Queen  Elizabeth. 

SAY,  Frederick  Richard,  a  popular  portrait 
painter  of  the  time  of  George  IV.,  and  a  constant 
.exhibitor  at  the  Royal  Academy.  He  was  the 
son  of  William  Say  the  engraver,  and  his  sister 
Mary  Anne  was  the  wife  of  J.  B.  Papworth,  the 
eminent  architect.  He  is  believed  to  have  been 
born  in  1827,  and  to  have  died  in  1860,  but  neither 
of  these  dates  can  be  given  with  authority.  His 
best  portrait  is  considered  to  be  that  of  Sir  E. 
Bulwer  Lytton,  and  many  of  his  portraits  were 
engraved  by  Samuel  Cousins.  His  work  is  to  be 
seen  at  Drayton  Manor  and  at  Althorpe.  It  has 
been  confused  with  the  early  work  of  Lawrence,  to 
■which  it  certainly  bears  some  resemblance. 

SAY,  William,  an  eminent  engraver  in  mezzo- 
tint, was  born  at  Lakenham,  near  Norwich,  in 
1768.     He  was  left  an  orphan  at  the  age  of  five 

28 


years,  and  was  brought  up  by  a  maternal  aunt. 
Although  he  showed  an  early  inclination  for  art, 
he  did  not  practise  it  as  a  profession  till  his  arrival 
in  London,  when  he  had  attained  his  twenty-first 
year,  and  was  married.  He  put  himself  under  the 
direction  of  James  Ward,  at  that  time  chiefly  an 
engraver,  and  under  his  instruction  produced  his 
first  plate.  He  was  indefatigable  in  the  art,  and 
in  1807  he  was  appointed  engraver  to  the  Duke  of 
Gloucester.  He  engraved  about  330  plates,  a  few 
after  the  old  masters,  but  the  majority  after  modem 
painters.  Among  them  we  may  name  the  Dilettanti 
Society,  after  Sir  J.  Reynolds  (2) ;  several  for 
Turner's  River  Scenery ;  sixteen  plates  for  the 
'  Liber  Studiorum  '  ;  two  of  '  Brigands,'  after  East- 
lake  ;  '  Joseph  and  his  Brethren,'  after  Northcote ; 
and  Hilton's  '  Raising  of  Lazarus.'  Many  of  his 
plates  remained  unpublished  at  the  time  of  his  death, 
which  occurred  on  the  24th  of  August,  1834.  The 
British  Museum  possesses  a  complete  set  of  his 
works. 

SAYER,  James,  a  political  caricaturist,  was 
born  at  Yarmouth  in  1748.  He  commenced  life  as 
a  clerk  in  an  attorney's  office,  but  came  to  London 
in  1780.  His  works,  which  are  about  a  hundred  in 
number,  were  in  favour  of  Pitt  and  against  Fox,  and 
it  is  said  that  the  latter  declared  Sayer's  pencil  had 
done  him  more  harm  than  all  the  attacks  he  had 
had  to  face  in  Parliament.  Pitt  gave  him  a  clerk- 
ship in  the  Court  of  Exchequer,  and  in  time  he 
became  Marshal  of  the  Court,  Receiver  of  the  Six- 
penny duties,  and  one  of  the  Cursitors.  On  Pitt's 
death  he  published  his  '  Elijah's  Mantle,'  which 
was  at  one  time  ascribed  to  Canning.  He  died  in 
London  in  1823. 

SAYERS,  Reuben  W.,  was  born  in  1815.  He 
made  his  debut  at  the  Academy  in  1846,  and  con- 
tinued to  be  an  occasional  exhibitor  until  1867. 
lie  also  exhibited  at  the  British  Institution  and 
the  Society  of  British  Artists,  usually  domestic 
genre.  His  exhibited  works  number  thirty-four. 
Some  churches  possess  large  paintings  of  religious 
subjects  which  he  presented  to  them.  He  died  in 
1888. 

SAYTER.     See  Seuteb. 

SAYVE,  (or  Saive,)  Jean  Baptiste  de,  called 
Jean  de  Namdr,  from  his  birthplace.  The  earliest 
known  works  by  him  dated  from  the  year  1576. 
He  was  for  a  time  painter  to  the  Municipality  of 
his  native  town,  which  he  left  for  Brussels,  where, 
in  1590,  he  was  painter  to  the  Duke  of  Parma. 
Shortly  afterwards  he  returned  to  Namur,  and 
finally  settled  at  Mechlin,  where  he  was  largely 
employed  by  the  Guilds,  and  where  he  died  in 
1624.     Works: 

Mechlin.    Church  of  N'otre'i  ,r  _i     j         t  o  n  ii.    • 

Dame  t  '^^'^y^oo™  o'  S.  Catharine. 

''Sf^'^JDaridandGoHath. 

„  „  Baptism  of  Christ. 

Namur.      Cercle  ArchMo-)  ^,     t   i  i    t /-i      u 

•  [•  The  Judgment  of  Cambyses. 

„  „  Portraits  of  the  *  Echevini  * 

{Dij)ti/ch). 

His  son,  Jean  Baptiste,  also  practised  painting. 

SAZJEPIN,  NicoLAi  KoNSTANTiNOWiTCH,  a  Rus- 
sian amateur  of  great  promise,  whose  '  Nun  in  the 
Choir  of  a  Church '  excited  much  attention  at 
Petersburg  in  1853.  He  was  the  colonel  of  a 
Russian  Engineer  Battalion,  and  fell  at  the  taking 
of  Sebastopol,  in  1855. 

SBARBI,  Antonio,  a  Cremonese  painter,  was 


WILLIAM  SAY 


[Fnoti  ihe  wczzolint  after  Devis 


QUEEN  CAROLINE 


PAINTERS  AND  ENGRAVERS. 


first  a  scholar  of  Bemaeconi  at  Milan,  and  after- 
wards studied  at  Bologna  under  Lorenzo  Pasinelli. 
He  was  invited  to  Piacenza  by  the  Duke  Ranucci 
Famese,  for  whom  he  painted  many  pictures.  He 
distinguished  himself  by  his  representation  of 
animals.  He  died  at  Milan  early  in  the  18th 
century. 

SBINKO  DA  TROTINA,  a  miniaturist  of  Prague 
in  the  14th  century. 

SCABARI,  NiccoLO,  painter,  bom  at  Vicenza 
in  1735,  painted  in  the  style  of  the  Bassani.  His 
works  are  to  he  found  in  the  churches  of  Vicenza, 
Padua,  and  Verona.     He  died  in  1802. 

SCACCIANI,  Camillo,  called  Carbone,  an  Italian 
painter  of  the  Roman  school,  who  flourished  to- 
wards the  close  of  the  18th  century.  He  was  a 
native  of  Pesaro,  where  there  is  a  'S.  Andrea 
Avellino'  by  him  in  the  Duomo. 

SCACCIATI,  Andrea,  an  Italian  designer  and 
engraver,  born  at  Florence  about  the  year  1726, 
was  a  pupil  of  Schvveykhard.  In  1766  he  pub- 
lished, jointly  with  Stefano  Mulinari,  a  set  of  forty- 
one  plates  in  aquatint,  from  drawings  by  distin- 
guished masters  in  the  collection  of  the  UflBzi. 

SCACCIATI,  Andrea,  was  born  at  Florence  in 
1642,  and  was  first  a  scholar  of  Mario  Balassi,  but 
he  afterwards  studied  under  Lorenzo  Lippi.  He 
painted  animals,  flowers,  and  fruit,  and  was  patron- 
ized by  the  Grand  Duke  of  Tuscany.  He  was  still 
living  at  Florence  in  1704. 

SCAGLIA,  GiROLAMO,  a  native  of  Lucca  and 
painter  of  the  Florentine  school,  was  sometimes 
called  II  Parmigianino.  In  1672  he  was  at  work 
in  Pisa. 

SCAIARIO,  Antonio,  a  painter  of  Bassano,  one 
of  the  later  disciples  of  the  school  of  the  Bas- 
sani, was  the  pupil  and  son-in-law  of  Giambatista 
da  Ponte.  In  allusion  to  his  birth  and  training, 
he  occasionally  signed  his  works  Antonio  da  Ponte, 
and  Antonio  Bassano.     He  died  in  1640. 

SCALABRINO,  Lo,  a  scholar  of  Sodoma,  showed 
great  poetical  invention  in  painting  grottesche.  As 
a  disciple  of  Bazzi  he  would  rank  among  the 
Sienese  painters ;  but  he  was  accustomed  to  sign 
himself  Scalabrinus  Pistoriensis,  so  that  Pistoja 
seems  to  have  been  his  birthplace. 

SCALBERG,  Pierre,  a  French  painter  and  en- 
graver, who  resided  in  Paris  about  the  year  1638. 
Of  his  work  as  a  painter  little  is  known,  but  he 
has  left  a  few  etchings,  some  from  his  own  designs, 
others  from  well-known  pictures,  e.  g. : 

Venus  and  Cupid ;  signed  and  dated.     1638. 

The  Entombment  of  Christ ;  after  Raphael. 

The  Battle  of  Constantine  ;  ajter  the  same, 

Diana  and  her  Nymphs ;  after  Domenichino. 

Robert-Duniesnil,  torn,  iii.,  has  ascribed  forty-seven 
prints  to  Scalberg,  who  is  said  to  have  worked  as 
late  as  1650. 

SCALBERGE,  (or  Scalle  Berge,)  Frederic,  a 
Flemish  engraver,  who  flourished  from  1623  to 
1636,  as  appears  by  the  dates  on  his  plates.  This 
engraver,  who  signed  his  name  sometimes  Scal- 
herge,  and  sometimes  Scalle  Berge,  must  not  be 
confounded  with  Pierre  Scalberg. 

SCALIGERI,  Bartolo,  a  native  of  Padua,  was 
born  about  1605,  but  settled  at  Venice,  and  was  a 
scholar  of  Alessandro  Varotari.  Several  altar-pieces 
by  him  are  still  preserved  in  Venice,  among  which 
that  in  the  church  of  Corpus  Domini  is  perhaps  the 
best.     The  date  of  his  decease  is  not  recorded, 

SCALIGERI,  Lucia,  niece  of  Bartolo  Scaligeri, 
was  born  at  Venice  in  1637.     She  distinguished 


herself  by  literary  and  linguistic  powers,  and  was 
an  excellent  musician.  In  art  she  was  a  pupil  of 
Alessandro  Varotari,  and  painted  several  pictures 
for  the  churches  of  Venice.     She  died  in  1700. 

SCALVATI,  Antonio,  painter,  was  bom  at 
Bologna  in  1599,  and  was  a  scholar  of  Tommaso 
Lauretti.  He  accompanied  his  master  to  Rome,  and 
assisted  him  in  the  Sala  di  Constantino.  Scalvati 
was  employed  by  Sixtus  V.  in  the  library  of  the 
Vatican,  and  excelled  in  portraiture,  painting 
Pope  Clement  VIII.,  and  many  personages  of  his 
time.     He  died  in  1622. 

SCAMINOSSI,  (ScHiAMONOSsi,  Sciaminossi,) 
Raphael,  a  native  of  Borgo  S.  Sepolcro,  horn  about 
1670,  was  a  scholar  of  Rafiaelliiio  dal  Colle.  He 
painted  history  with  success,  but  is  more  known  as 
an  engraver  than  as  a  painter.  He  sometimes  used 
a  monogram  composed  of  the  letters  R.  A.  S.  F. 

thus  Vn^  •   He  was  still  living  in  1620.     Among 

his  plates  we  may  name : 

The  Virgin  and  Child ;  inscribed  Raphael  Schaminossius 

Pictor,  4-c.     1613. 
St.  Francis  preaching  in  the  Desert ;  also  from  his  own 

design.     1604. 
A  set   of    fourteen  plates  entitled    Mi/steria  rosarii 

Beatce  Maria  i'irc/inis.     1609. 
The  Sibyls ;   a  set  of  upright  plates ;  from  his  own 

designs. 
The  Stoning  of  Stephen ;  after  Luca  Camhiaso. 
A  Eiposo ;  after  Fcderigo  Baroccio. 

SCANDRETT,  Thomas,  architectural  draughts- 
man, born  at  Worcester  in  1797.  In  1825  he  ex- 
hibited two  portraits  at  the  Academy,  and  was  an 
occasional  exhibitor  of  architectural  drawings.  He 
died  in  1870. 

SCANNABECCHI,  Filippo,  called  Lippo  di  Dal- 
MASio,  and  also  Lippo  dalle  Madonne,  from  the 
numerous  pictures  he  painted  of  the  Virgin  and 
Child,  was  one  of  the  earliest  painters  of  the 
Bolognese  school.  He  was  the  son  of  Daluasio 
Scannabecchi,  who  painted  at  Bologna  early  in  the 
14th  century.  There  is  an  example  of  his  art  in 
the  gallery  at  Bologna.  Lippo  is  said  to  have  been 
a  pupil  of  Vitale  da  Bologna,  and  to  have  practised 
from  1376  to  1410.  His  pictures  are  now  exceed- 
ingly scarce,  though  Malvasia  says  that  a  family 
used  not  to  be  considered  wealthy  at  Bologna  unless 
it  possessed  one  of  his  Madonnas.  The  dates  of  his 
birth  and  death  are  alike  unknown,  but  he  made 
his  will  in  1410.  In  the  National  Gallery,  London, 
there  is  a  '  Madonna  and  Child  in  Glory,'  signed 
lAppus  Dalmasii  pinxit.  It  is  a  very  poor  pro- 
duction. 

SCANNABECCHI,  Teresa.     SeeMuBATORi. 

SCANNARDI  D'AVERARA,  a  painter  practising 
at  Bergamo  towards  the  close  of  the  15th  century. 
No  record  of  his  life  and  works  has  survived,  but 
we  leam  from  an  ancient  deed  preserved  at  Bergamo, 
that  in  1477  he  was  working  as  partner  with  Troso 
da  Monza.  Messrs.  Crowe  and  Cavalcaselle  sug- 
gest that  the  fragments  of  frescoes  detached  from 
the  ruins  of  Santa  Maria  delle  Grazie,  and  deposited 
in  the  Bishop's  palace  at  Bergamo,  may  have  been 
a  product  of  this  collaboration. 

SCANNAVINI,  M.  Aurelis,  (Scannavesi,)  was 
bom  at  Ferrara  in  1655.  He  was  first  a  scholar 
of  Francesco  Ferrari  but  afterwards  visited 
Bologna,  where  he  studied  for  some  time  under 
Carlo  Cignani,  of  whom  he  became  one  of  the  most 
distinguished  disciples.  His  most  considerable 
work  is  in  the  refectory  of  the  Dominicans,  at 
Ferrara.     It  represents  the  Life  of  St.  Dominic,  in 

29 


A  BIOGRAPHICAL  DICTIONARY  OF 


Coronation  of  Charles  V. 
St.  Barbara. 


fourteen  pictures.  There  are  many  pictures  by 
Scannavini  in  the  churches  at  Ferrara,  among  others 
the  '  Annunciation,'  in  the  church  of  S.  Stefano  ; 
'  S.  Tommaso  di  Villanova  distributing  Alms  to  the 
Poor,'  at  the  Agostiniani  Scalzi  ;  and  '  S.  Brigida 
fainting  before  a  Crucifix,  supported  by  an  Angel,' 
in  S.  Maria  della  Grazie.  He  died  at  Ferrara  in 
1698. 

SCARAMUCCIA,  Giovanni  Antonio,  a  painter 
of  Perugia,  bom  1580,  was  a  pupil  of  Roncalli,  but 
imitated  the  manner  of  the  Carracci,  and  painted  a 
large  number  of  pictures  for  churches  in  Perugia, 
■where  they  still  exist.     They  are  now  very  dark. 

SCARAMUCCIA,  LuiGi  Pellegrini,  called  II 
Perdgino,  was  born  at  Perugia  in  1616.  He  was 
the  son  of  Giovanni  Antonio  Soaramuccia,  by  whom 
he  was  instructed  in  the  elements  of  design  ;  but 
he  afterwards  frequented  the  school  of  Guido,  and 
is  said  to  have  also  studied  under  Gueroino.  He 
painted  several  pictures  for  the  public  edifices  of 
Perugia,  Milan,  and  Bologna.  He  died  at  Milan  in 
1680.     Works  : 

Bologna.    Pal.  Puhllico. 
Milan.  Ch.  of  San  Marco. 

We  have  a  few  etchings  by  this  artist,  in  which' 
he  seems  to  have  imitated  Guido.     They  are  : 

Christ  crowned  with  Thorns  ;  after  Titian. 
St.  Benedict  praying  ;  after  Lod.  Carracci. 
Venus  and  Adonis  ;  after  An.  Carracci, 
The  Virgin;  after  the  same. 

SCARAMUZZA,  Francesco,  Italian  painter ; 
born  July  16,  1803,  at  Sissa,  near  Parma,  where 
he  studied,  being  greatly  influenced  by  the  work 
of  Correggio.  He  subsequently  went  to  Rome, 
where  he  foimd  wider  scope  for  his  talent  as  an 
illustrator,  and  his  pen-drawings  served  to  fami- 
liarize the  public  with  his  name,  notably  his 
illustrations  of  Dante,  though  he  seemed  to  copy 
the  manner  of  Cham  and  of  Dord  in  many  of  these. 
The  Parma  Gallery  possesses  not  a  few  examples 
of  his  work.     He  died  in  1886.  , 

SCARPACCIA.     See  Carpaccio,  Vittore.  ' 

SCARSELLA,  Ippolito,  called  Lo  Scarsellino, 
painter,  was  born  at  Ferrara  in  the  year  1551.  He 
was  the  son  of  Sigismondo  Scarsella,  from  whom 
he  received  his  first  instruction,  but  he  afterwards 
visited  Venice,  where  he  became  the  scholar  of 
Giacomo  Bassano,  and  studied  the  works  of  Paolo 
Veronese.  From  Venice  he  went  to  Bologna,  and 
afterwards  to  Parma.  On  his  return  to  Ferrara, 
he  was  employed  in  painting  pictures  for  the 
churches,  and  there  is  scarcely  a  public  building  in 
the  city  which  does  not  possess  some  of  his  works. 
Scarsellino  died  at  Ferrara  in  1620.     Pictures  : 

Dresden.  Gallery.  Flight  into  Egypt. 

„  _      „  The  Virgin  and  Child. 

Ferrara.  S.  Maria  Nuova.  The  Annunciation. 

„  „  The  Visitation. 

„  „  The  Assumption. 

„  „  Marriage  at  Cana. 

„      Costahili  Gallery.  Virgin  and  Child. 

„  Count  Mazza.  The  Last  Supper. 

„  Finacoteca,  The  Marriage  at  Cana. 

„  &  Benedetto.  The  Assumption. 

„  iS.  Paolo.  Frescoes. 

Florence.  Uffi''-    Judgment  of  Paris. 

„  „        Virgin  and  Child. 

Madrid.  Museum.    Virgin  and  Cliild. 

SCARSELLA,    Sigismondo,    called     Mondino, 
painter,  was  bom  at  Ferrara  in    1530,  and  was 
30 


educated  for  three  years  in  the  school  of  Paolo 
Veronese,  of  whose  style  he  was  a  constant,  though 
not  a  very  successful,  follower.  There  are  many 
works  by  him  in  the  public  edifices  at  Ferrara,  in 
which  city  he  died  in  1614.  His  chief  picture  is 
the  '  Martyrdom  of  St.  Catharine '  in  the  Costabili. 

SCARSELLO,  Girolamo,  painter  and  engraver, 
a  Bolognese,  and  pupil  of  Gessi,  was  practising 
about  1660.  He  worked  for  a  time  at  Milan,  and 
subsequently  at  Turin,  about  1670. 

SCHAAL,  LoDis  Jacques  Nicolas,  painter  and 
engraver,  was  bom  in  Paris,  February  13,  1800. 
He  was  a  pupil  of  Daguerre  and  of  Lethiere,  and 
entered  the  £coIe  des  Beaux  Arts  in  1816.  He  ex- 
hibited frequently  at  the  Salon  between  1824  and 
1853,  and  was  also  the  author  of  various  treatises 
on  industrial  art  and  design,  of  a  '  Treatise  on  Land- 
scape,' illustrated  with  twenty-four  lithographs 
(1824),  and  of  a  '  Project  for  the  Regeneration  of 
the  Western  Empire  by  means  of  the  Fine  Arte,' 
with  eight  engravings  (1869). 

SCHAARSCHMIDT,  Friedrich,  was  born  at 
Bonn  in  1863,  and  studied  at  the  Diisseldorf 
Academy  and  under  Wilhelra  Sohn.  He  painted 
landscapes,  the  scene  of  which  was  often  laid  in 
Italy,  but  is  best  known  by  his  writings  on  artistic 
subjects.  He  was  Conservator  of  the  Diisseldorf 
Academy,  and  died  in  1902. 

SCHACHMANN,  Karl  Adolph  Gottlieb, 
(QoTTLOB,  Gottfried,)  Freiherr  von,  painter  and 
etcher,  was  born  at  the  Schloss  Hermsdorf  in  Saxony, 
and  travelled  much  in  Norway  and  Sweden.  His 
pictures  are  to  be  found  in  Saxony.  He  died  on 
the  estate  of  Konigshayn  in  1789. 

SCHADE,  Rddolph  Christian,  draughtsinan 
and  painter,  born  at  Hamburg  about  1760,  studied 
successively  under  Tischbein,  Ehrenreich,  and  Juel 
of  Copenhagen,  and  practised  portrait-painting  at 
Berlin,  Dresden,  and  Hamburg.  Many  of  his  por- 
traits have  been  engraved.  He  died  at  Hamburg 
on  May  16,  1811. 

SCHADOW,  WiLHELM  Friedeich  von,  son  of 
Johann  Gottfried  Schadow,  the  architect,  was  born 
at  Berlin  in  1789.  He  studied  under  liis  father  and 
Weitsch,  and  later  under  Schirm.  In  1810  he  went 
with  his  brother  Rudolph  to  Rome,  and  joined  the 
'  Nazarenes,' and  in  1814  became  a  Roman  Catholic. 
In  1819  he  became  a  Professor  in  the  Academy  at 
Berlin,  and  acquired  great  reputation  as  a  teacher. 
In  1826  he  was  appointed  to  succeed  Peter  von 
Cornelius  as  Director  of  the  Diisseldorf  Academy, 
whither  his  pupils,  J.  Hiibner,  Hildebrandt,  Sohn, 
and  K.  F.  Lessing,  accompanied  him.  He  success- 
fully reorganized  the  Academy,  and  in  1829  founded 
the  Art  Onion  of  Westphalia.  From  1836  onwards 
he  was  the  object  of  many  attacks,  being  accused 
of  professional  intolerance,  and  of  favouring  religious 
art  to  the  exclusion  of  other  genres.  In  1840  he 
revisited  Rome  on  account  of  his  health,  and  in 
1869  he  resigned  his  position.  Gifted  with  more 
taste  than  originality,  and  with  more  technical 
power  than  poetic  sentiment,  he  paid  great  attention 
to  the  finish  of  his  pictures.  His  portraits  are 
among  his  best  works.  In  1842  he  was  created 
honorary  Doctor  of  Philosophy  of  the  University  of 
Bonn,  and  in  1843  he  was  ennobled.  He  was  a 
Member  of  the  Berlin  Academy,  and  of  the  Insti- 
tute of  France.  While  engaged  on  his  last  work 
he  was  attacked  by  amaurosis  and  became  blind. 
In  spite  of  a  successful  operation  he  painted  no 
more.  He  died  at  Diisseldorf  in  1862.  His  principal 
works  are : 


PAINTERS  AND  ENGRAVERS. 


Ansbach.         Cathedral.    A  Christ. 
Berlin.       A'at.  Gallery.    Christ  on  the  Road  to  Emmans. 
>.  „  Half-length     portrait      of      a 

Woman. 
»  n  Portrait    group   of    Thorwald- 

sen,    ■\ViIhelm,   and    Rudolf 
Schadow. 
»  Theatre.    A  Bacch.iual. 

„  The  TVerder  Church.     The  Four  Evangelists. 
Diilmen,  AVest-    Parish  )  ■.,  .     T^  i 

phalia.  CAar^-A.jM^'^I'olo™^^- 

Frankfort.  3Tuseum.     The  "Wise  and  Foolish  Virgins. 

'B.a.noYfii.  Market  Church.     Christ  on  the  Alount  of  Olives. 
Munich.         Pinakothik.    The  Holy  Family. 
Rome.       Casa  Bartoldi.    Joseph's  Bloody  Coat.  (Fresco.) 
n  n  Joseph  in  Prison.     {Do.) 

Heaven,  Purgatory,  and  Hell,  an  allegory  ;  his  last  work. 

SCHAEKEN,  Wilhelmds,  painter,  bom  at 
Weerd  in  1754,  was  a  pupil  of  Borrekens,  and  the 
master  of  van  Bree.  He  spent  two  years  in  Italy 
after  a  previous  sojourn  of  twelve  years  in  Antwerp. 
His  principal  pictures  are  a  'Virgin,'  and  a  'Dead 
Christ  lying  in  the  Grave.'  He  died  at  Antwerp 
in  1830.  *^ 

SCHAERER,  H.  L.,  engraved  several  small 
landscapes,   which    he    marked    either  with    this 

cypher,  ^%^,  ,    or  with   his   name,   thus,  H.   L. 

Schaerer  sculp.  On  a  few  plates  he  gives  the 
initials  of  his  Christian  names  as  A.  L.  His  chief 
prints  are  copies  of  Sachtleven  and  J.  Saenredam. 
SCHAFFER,  Adalbert,  painter,  born  at  Gross 
Karoly  in  Hungary  in  1815,  received  his  education 
in  Vienna,  and  painted  still-life,  silver-plate,  wine- 
glasses, _&c.     He  died  at  Diisseldorf  in  1871. 

SCHAFFER,  Euqen  Eddard,  engraver,  bom  at 
Frankfort  in  1802,  entered  the  Stadel  Institute, 
where  he  studied  under  Ulmer.  He  afterwards 
worked  at  Munich  and  Diisseldorf.  Under  Cor- 
nelius, he  engraved  his  Dante's  'Paradise,'  and 
the  portrait  of  Niebuhr.  In  1826  lie  returned  to 
Munich,  and  in  1839  was  appointed  teacher  of  en- 
graving at  the  Stadel  Institute.  In  1844  he  went 
to  Florence  and  engraved  the  'Madonna  dellaSedia.' 
Between  1852  and  1856  he  was  in  Rome,  but  re- 
turned to  Frankfort,  where  he  died  in  1871.  Of  hia 
plates  we  may  name : 

The  Madonna  della  Sedia ;  after  Raphael. 

The  Madonna  del'  Gran  Duea;  after  the  same. 

The  Lower  "World  ;  after  Cornelius. 

The  Judgment  of  Paris ;  after  the  same. 

Romeo  and  Juliet ;  after  the  same. 

The  Rape  of  Helen  ;  after  the  same. 

Two    scenes    from    Shakespeare's    'Tempest';    after 
Kaulbach. 

Euphrosyne ;  after  Steinle. 

Genevieve ;  after  Steinhriick-. 

The  Erl  Konig ;  after  Neher. 

The  Introduction  of  Christianity ;  after  Veil. 

Poetry  ;  after  Raphael  (left  vnfinished). 

Madonna  di  Terranuova  ;  after  the  same  (ditto). 

Sacred  and  Profane  Love  ;  after  Titian  (ditto). 

SCHAFFNABDRGENSIS,  Matthaus,  an  en- 
graver on  wood,  who  executed  the  cuts  for  a  Bible, 
printed  at  Wittemberg  in  1545.  He  marked  his 
prints  with  the  initials  M.  S.  on  a  tablet.  By 
some  he  has  been  supposed  to  be  identical  with 
Matthaus  GrGnewald. 

SCHAFFNER,  Martin,  a  painter  of  Ulm,  who 
flourished  in  that  city,  as  appears  by  the  records 
from  1508  to  1535.  He  painted  historical  subjects 
and  portraits,  and  ranks  among  the  good  German 
masters  of  the  period.  Some  of  his  best  pictures 
are  in  the  gallery  at  Sohleissheira.  His  figures  are 
noble,  yet  delicate,  full  of  feeling  and  expression 


in  the  heads,  but  somewhat  defective  in  colour. 
Several  of  his  marks  and  dates  are  given  by  Brulliot. 
His  monogram  is  an  M  with  an  S  imposed  on  it,  or 
the  letters  MSMZV,  interpreted  Martin  Schaffner 
Mdkler  zu,  Ulm,  as  on  the  '  Adoration  of  the  Magi,' 
formerly  in  the  Wallerstein  collection,  but  now 
in  that  of  the  King  of  Bavaria.  His  dates  are 
said  to  range  from  1490  to  1521  SchafEner's  works 
were  formerly  attributed  to  Martin  Schongauer, 
on  account  of'the  monogram  MS.     Chief  works : 

Augsburg,         ) 


Scenes  from  the  Passion. 


Schleissheim. 

London.        ^''f^^^  |  Child  Christ  learning  to  walk. 

Munich.  Gallery.    The  Annunciation. 

„  „  The      Presentation      in      the 

Temple. 
„  „  The  Descent  of  the  Holy  Ghost. 

„  „  The     Death     of    the    "Virgin. 

(These  pictures,  which  form 
Schaffner's  masterpiece,  were 
originally  organ  doors  in  the 
convent  of  "Wettenhausen, 
near  Ulm.) 
„  „  Two  Portraits. 

Nuremberg.      Germanic  \  a  u-r.nippp 
Museum,  f  Altar-piece. 

„     Moriiz-Capelle.    Adoration  of  the  Magi. 
Stuttgart.     Mus.  of  An-  )  Four  large  pictures,  dated  1510 

tiguities.    J      to  1519. 
XJlm.  Great  Church.     Saints     and    the     families    of 

Christ's  ancestry. 
Vienna.  Gallery.    Several  Pictures. 

SCHAFLER,  (Schaffler,  Scheffler,)  Chris- 
TOPH  Thomas,  painter,  was  born  at  Augsburg  about 
1700.  He  was  of  the  Roman  Catholic  faith,  and 
became  for  a  time  a  lay-brother  of  the  Order  of 
Jesus,  but  returned  to  a  secular  life.  He  painted 
in  oil  and  in  fresco  many  pictures  for  churches, 
amongst  which  we  may  mention  his  '  Death  of  St. 
Benedict,'  in  the  church  formerly  belonging  to  the 
Convent  at  Ettal  ;  and  works  in  the  monastery  of 
S.  Ulrich  at  Augsburg,  in  the  Capuchin  church  at 
Eichstadt,  in  the  old  chapel  at  Ratisbon,  and  in  the 
'' Congregations-Saal  "  at  Ingolstadt.  He  made 
many  designs  for  book  illustrations.  He  died  at 
Augsburg  in  1756. 

SCHAGEN,  GiLLis  van,  a  Dutch  painter,  bom 
at  Alkmaar  in  1616.  He  was  first  instructed  in 
art  by  Solomon  van  Ravestein,  but  was  afterwards 
a  scholar  of  Pieter  Verbeek.  "When  he  was  twenty- 
one  years  of  age  he  went  to  Dantzic,  where  he 
resided  some  time,  and  painted  pictures  of  Dutch 
kitchens  and  conversations,  in  imitation  of  the  style 
of  Ostade.  He  also  painted  portraits  with  success, 
both  at  Dantzic  and  Elbing  ;  among  them  was  a 
portrait  of  Stanislaus,  King  of  Poland.  After  an 
absence  of  three  years,  he  returned  to  Holland, 
but  his  restless  disposition  led  him  to  visit  France, 
where  he  was  employed  in  copying  the  works  of 
the  best  Italian  and  Flemish  painters,  for  which  he 
possessed  a  particular  talent.  On  his  return  to 
Alkmaar  he  painted  a  picture  of  Admiral  van 
Tromp's  victory  over  the  Spanish  fleet.  He  has 
left  one  etching,  a  cottage  scene,  with  an  old  man. 
There  is  a  picture  ascribed  to  him  in  the  Bridgewater 
Gallery.     Hedied  at  Alkmaar  in  1668. 

SCHAUFELIN,  Hans,  the  son  of  Hans  Leon- 
hard  Schaufelin,  left  Ndrdlingen  in  1542,  and  settled 
in  Freiburg.  To  Hans  are  now  attributed  many  of 
the  weaker  works  formerly  assigned  to  the  father 
He  died  in  1582. 

SCHAUFELIN,  Hans  Leonhard,  (Schedffelin, 
ScHAUFFELEiN,  ScHEYFFBLiN,)  bom  at  Nuremberg 

31 


A  BIOGRAPHICAL  DICTIONARY  OF 


in  1490,  was  the  pupil  of  Albreoht  Diirer,  of  whose 
Btyle  he  caught  many  of  tlie  beauties.  He  had  a 
ricli  imagination,  much  true  feeling,  an  intelligent 
appreciation  of  drapery,  and  much  taste  in  exe- 
cution. In  1507  he  designed  two  wood-engravings 
for  Ulrich  Pindter's  '  Speculum  passionis.'  He 
also  drew  the  illustrations  to  the  '  Theuerdanck'  of 
the  Emperor  Maximilian,  and  made  twenty  designs 
for  a  '  Hochzeittanz.'  In  1515  he  was  made  burgher 
of  the  town  of  Nordlingen,  and,  on  visiting 
Nuremberg,  was  recalled  to  Nordlingen  by  the 
magistrates.  He  died  at  Nuremberg  in  1540.  Of 
his  works  we  may  name : 

The  Siege  of    Bethulia ;   a  fresco  in  the  Town-hall  oj 

Kordh  ngen. 
A  Last  Supper  ;  in  TTlm  Cathedral. 
The  Dead  Christ ;  in  the  Cathedral  at  Nuremberg. 
A  Descent  from  the  Cross ;    in  St.  George's  Church, 

Nureviherg. 
Coronation  of  the  Virgin  (in  16  panels,  with  291  figures)  ; 

in  the  Church  at  Anhau^en. 
Death  of  the  Virgin  ;  in  Munich  PinakotheJc. 
The  Virgin  dying  receives  a  Palm  of  Victory  from  an 

Angel ;  in  the  same. 
The  Coronation  of  the  Virgin  ;  in  the  same. 
Christ  on  the  Sea  of  Galilee  saving  St.  Peter ;  in  ike 

same. 
Christ  crowned  with  Thorns  ;  in  the  same. 
Christ  on  the  Cross  ;  in  the  same. 
Christ  on  the  Mount  of  Olives  ;  in  the  same. 
The  Visitation;  National  Gallery,  Dublin, 
The  Last  Supper ;  Berlin  3Iuseum. 
Noli  me  Tangere  ;  Cassel  Galloy, 
Portrait  in   the   possession  of  the    Duke    of    Korth- 

umberland. 

Schaufelin  did  not  etch  himself.  He  frequently 
marked  his  works  with  a  monogram  composed  of 
his  initials  and  a  shovel,  a  rebus  on  his  name. 

SCHALGH,  JoHANN  Jacob,  a  landscape  painter, 
was  born  at  Schaffliausen  in  1723,  and  was  a 
scholar  of  Schnaezler,  and  of  an  artist  of  the  name 
of  Hamilton,  at  Augsburg.  He  visited  Holland 
and  England,  and  died  in  1770. 

SCHALCKE.     See  Van  der  Soh.\lcke. 

SCIIALGKEN,  Godfeied,  was  born  at  Dordrecht 
in  1643.  His  father  was  rector  of  the  college  at 
Dordrecht,  and  desired  to  bring  him  up  to  literary 
pursuits,  but  becoming  alive  to  the  boy's  dis- 
position for  painting,  he  placed  him  in  the  studio 
of  Samuel  van  Hoogstraten,  whence  he  migrated 
to  that  of  Gerard  Douw,  under  whom  he  acquired 
delicacy  of  finish  and  some  skill  in  light  and  shade. 
He  remained  with  Douw  until  he  had  established 
a  certain  reputation  by  painting  small  pictures  of 
domestic  scenes,  chiefly  candle-lights.  He  after- 
wards attempted  to  expand  his  style  by  the  study 
of  Rembrandt,  but  soon  returned  to  his  early  manner. 

To  give  the  most  natural  effect  to  his  candle- 
light pieces,  he  is  said  to  have  adopted  the  follow- 
ing system  :  he  placed  the  object  he  intended  to 
paint  in  a  dark  room,  with  a  candle,  and  looking 
through  a  small  hole,  painted  by  day  what  he  saw 
by  candle-light.  His  small  portraits  were  very 
popular,  and  he  had  painted  the  principal  families 
at  Dordrecht,  when  he  was  encouraged,  by  the 
extraordinary  success  of  Kneller,  to  visit  England. 
Here,  however,  his  success  was  small.  There  was 
no  room  for  him.  His  manners,  too,  were  against 
him,  and  many  stories  of  his  boorishness  are  told 
by  the  old  writers.  On  his  return  to  Holland  he 
settled  at  the  Hague,  where  he  continued  to  practise 
his  art  with  success,  until  his  death  in  1706.  The 
chief  merit  of  Schalcken  consists  in  the  neatness 
of  his  finishing,  and  the  perfect  intelligence  of  his 

32 


Antwerp. 
BerUn. 
Brussels. 
Dresden. 

Museum 

Museum. 

Museum. 

Gallery 

» 

» 

)> 

)i 

Glasgow. 

Gallery 

Hague. 

Sluseum. 

London.      Nat.  Gallery. 


„  Dulwich  Gal. 

„   Buckingham  Pal. 

Madrid.  Museum. 

Munich.  Gallery. 


Paris. 


Louvre. 


chiaro-scuro.     His  touch  is  mellow,  but  too  fused, 
and  his  colour  warm  and  golden.     Works : 

Amsterdam.  R.  Museum,    Portrait    of   'William    III.    of 

England. 
„  „  Every  one  to  his  Fancy. 

„  „  The  Smoker.  {And  four  more.) 

The  Two  Ages.    1673. 
Child  Angling. 
Children  melting  wax. 
Artist    examining    a    bust    of 

Venus  by  candle-Ught. 
Old  Woman  reading ;  life-size. 
Three  Pictures  of  Girls  with 

candles. 
Woman   in    Bed,   putting  out 

the  candle. 
A  Lady  at  her  Toilet  by  candle- 
light. 
Portrait  of  William  III.     (And 

three  others.) 
Lesbia  weighing  Jewels  against 

her  Sparrow. 
Old  Woman  scouring  a  pan. 
The  Duet. 
Soldifr    giving    Money    to    a 

Woman  (candle-light). 
Ceres  at  the  Peasant's  Cottage. 
Interior     with     Figures.       [A 

masterpiece.) 
Man  reading  by  candle-light. 
The  Five  Wise  and  Five  Foolish 

Virgins.     1700. 
A  Holy  Family. 
The  Penitent  Magdalen. 
One  Girl  trying  to  blow  out  the 

candle  of  another. 
A  Holy  Family. 
Ceres  in  search  of  Proserpine. 

[And  two  more.) 
The  Barber. 
Old  Man  reading. 

His  sister  and  pupil,  Maria,  practised  at  Dor- 
drecht. 

SCHALCKEN,  Jakob  nephew  and  pupil  of  God- 
fried  Schalcken,  painted  in  the  same  style,  so  that 
his  works  have  been  mistaken  for  those  of  his 
uncle. 

SCHALK,  Heinrich,  a  miniature  painter  of  some 
repute,  born  at  Frankfort  in  1792,  died  at  Carlsruhe 
in  1834. 

SCHALL,  Joseph,  draughtsman  and  miniaturist, 
was  practising  at  Breslau  from  1810  to  1820.  He 
worked  principally  in  Indian  ink,  chalk,  and  pen 
and  ink. 

SCHALLER,  Anton,  an  elder  brother  of  Johann 
Nepomuk  Schaller,  the  sculptor,  was  bom  at  Vienna 
in  1772.  He  was  for  some  time  a  painter  on  por- 
celain, but  afterwards  took  to  oil,  and  became  pro- 
fessor of  anatomy  in  the  Academy  at  Vienna. 
He  painted  good  miniature  portraits.  He  died  at 
Vienna  in  1844. 

SCHALLER,  Eduard,  painter,  son  of  Anton 
Schaller,  was  born  at  Vienna  in  1802,  and  attended 
the  Academy  in  that  city.  He  travelled  much, 
but  was  domiciled  at  Vienna,  where  he  died  in 
1848. 

SCHALLER,  Ernst  Johannes,  German  painter; 
born  at  Wasungen  (Meiningen)  in  1841  ;  at  the 
age  of  sixteen  went  to  Weimar  and  became  a  pupil 
of  Preller.  As  a  painter  of  animals  he  showed 
special  talent,  which  led  him  to  make  careful  and 
exhaustive  studies  in  the  Zoological  Gardens  of 
Dresden  and  Berlin.  He  subsequently  became 
professor  at  the  Technical  High  School  and  the 
Art  School  at  Berlin.  His  works  include  '  Tiger 
im  Kampf,' '  Lowin  mit  ihren  Jungen,' '  Bacchus- 


Petersburg.     Hermitage. 
Vienna.  Gallery. 


PAINTERS  AND  ENGRAVERS. 


zug,'  and  '  Psyche.'  He  also  had  a  share  in  the 
decoration  of  several  of  the  public  buildings  at 
Berhn  and  Breslau,  notably  illustrating  the  legend 
of  Prometheus  in  the  cupola  of  the  Silesian  Museum 
at  Breslau.     He  died  at  Coburg,  June  25,  1887. 

SCHALLHAS,  C.4RL  Philipp,  landscape  painter 
and  engraver,  born  at  Presburg  in  1767,  was  a 
pupil  at  the  Vienna  Academy,  of  which,  in  1792,  he 
was  appointed  professor  of  landscape  painting.  He 
died  at  Vienna  in  1797. 

SCHALTZ,  Daniel,  a  German  painter  and  en- 
graver, born  at  Dantzic,  died  in  1686.  He  excelled 
in  portraits,  and  in  the  painting  of  animals. 

SCHAMPHELEER,Edmondde,  Belgian  painter; 
born  at  Brussels  in  182-1 ;  became  a  pupil  of  E.  de 
Block.  He  was  for  many  years  established  at 
Munich,  where  he  painted  landscapes  and  produced 
several  etchings.  Of  his  works  we  may  make 
mention  of  the  following  :  '  Der  alte  Rhein  bei 
Gouda,'now  in  the  Brussels  Museum;  '  Abend- 
landsohaft,'  in  the  Hamburg  Kunst-Halle  ;  and 
'  Emte,'  in  the  Stettin  Museum.  He  obtained  the 
Dunkerque  gold  medal  in  1864,  the  Brussels  gold 
medal  in  1866,  the  Berlin  gold  medal  in  1872,  and 
that  of  Paris  in  1877.  He  died  at  Molenbeek, 
March  12,  1899. 

SCHAPFF,  JoRG,  according  to  Heineken,  exe- 
cuted the  cuts  for  a  block-book  on  Chiromancy  by 
Hartlieb,  with  the  date  1448  upon  it.  In  his  '  Idea 
for  a  complete  Collection  of  Prints,'  Heineken  has 
given  a  copy  of  one  of  these  cuts,  and  nothing  could 
be  more  rude.  The  name  of  the  engraver  was 
inscribed  on  one  of  the  leaves,  at  the  bottom,  3)org 
Scljapff  in  gugsbourg.  Zani  says  he  was  still  at 
work  in  1473. 

SHARPER,  (or  Shaper,)  Johann,  a  German 
painter,  native  of  Harburg,  who  settled  in  1640  at 
Nuremherg,  where  he  devoted  himself  principally 
to  painting  upon  glass,  ornamenting  goblets,  jugs, 
and  bowls  with  small  landscapes,  battle-scenes,  or 
coats-of-arms,  which  he  executed  with  much 
delicacy  and  finish.  Examples  are  to  be  seen  in 
the  collections  of  Berlin  and  Dresden.  He  died  at 
Nuremberg  in  1670. 

SCHARER,  Johann  Jakob,  born  at  Schaffliausen 
in  1676,  was  a  portrait  painter,  who  practised  also 
as  an  architect  and  modeller.     He  died  in  1746. 

SCHARF,  George,  senior,  was  born  in  1788  at 
Mainburg,  near  Munich,  and  was  the  first  success- 
ful practitioner  of  lithography  in  England.  He 
studied  in  Paris  and  Antwerp.  In  1816  he  was 
attached  to  the  British  army  throughout  the 
Waterloo  campaign,  and  in  1816  came  to  London. 
There  he  was  soon  largely  engaged  in  making 
drawings  for  scientific  works,  and  for  the  Trans- 
actions of  the  Geological  Society.  His  travels  in 
Belgium  and  France  also  afforded  subjects  for 
several  drawings,  and  he  painted  pictures  of  a 
'Sitting  of  Parliament '  and  'The  Lord  Mayor's 
Banquet.'  Scharf  became  a  member  of  the  Insti- 
tute of  Painters  in  Water-Colours  in  1834,  but  re- 
signed two  years  later.  There  is  a  drawing  of  the 
Society's  gallery  in  Bond  Street,  by  him,  at  South 
Kensington.  He  was  the  father  of  Sir  George 
Scharf,  at  one  time  Director  of  the  National 
Portrait  Gallery.  Scharf  died  in  London  in  1860. 
SCHARF,  Sir  George,  son  of  the  above,  was 
born  on  December  16,  1820.  He  was  educated  at 
University  College  School,  and  after  studying 
under  his  father  and  gaining  medals  at  the  Society 
of  Arts,  was  admitted  as  a  student  of  the  Royal  I 
Academy  in  1838.  His  first  published  work  was  a 
VOL.  y.  D 


series  of  etchings  entitled  '  Recollections  of  Scenic 
Effects,'  illustrating  the  Shakesperian  and  classical 
revivals  by  Macready  at  Covent  Garden  in  1838-9. 
In  1840  he  accompanied  Sir  C.  Fellows  through 
Lycia  and  Asia  Minor,  and  was  draughtsman  to 
the  Government  expedition  of  1843.  His  drawings 
of  Lycian  views  are  in  the  British  Museum.  After 
his  return  he  exhibited  in  1845  and  1846  six 
pictures  at  the  Royal  Acadeni}',  and  two  at  the 
British  Institution,  but  his  chief  work  was  in 
illustrating  books.  Among  these  may  be  men- 
tioned :  Fellows'  '  Lycia,'  1847  ;  Murray's  '  Illus- 
trated Prayer-Book';  Macaulay's 'Laysof  Ancient 
Rome,'  1847;  Milman's  'Horace,'  1849;  Kugler's 
'  Handbook  of  Italian  and  German  Painting,'  1851 ; 
Bray's  'Life  of  Stothard,'  1851;  Layard's  works 
on  Nineveh ;  Dr.  Smith's  Classical  Dictionaries  ; 
Keats's  Poems,  1854;  and  Pollock's  'Dante,' 1854. 
He  was  elected  a  Fellow  of  the  Society  of 
Antiquaries  in  1852,  and  at  the  Society's  meetings 
frequently  read  papers,  seventeen  of  which,  chiefly 
on  portraits,  were  printed  in  '  Archseologia.'  He 
was  appointed  Art  Secretary  to  the  Manchester 
Exhibition  in  1857,  and  on  the  foundation  of  the 
National  Portrait  Gallery  in  the  same  year  was 
appointed  its  first  Secretary,  becoming  Director  in 
1882.  His  profound  study  of  portraiture,  and  his 
shrewdness  and  diligence  in  archaeological  research, 
combined  with  his  technical  knowledge,  enabled 
him  to  do  most  valuable  service  in  identifying 
portraits  and  in  correcting  false  titles.  Among 
his  published  writings,  in  addition  to  the  essays 
mentioned,  were  his  'Cliaracteristics  of  Greek  Art,' 
prefixed  to  Wordsworth's  '  Greece ' ;  a  'Catalogue 
of  Pictures  at  Blenheim  Palace,'  18G0;  and  a, 
'Catalogue  Raisonniofthe  Pictures  belongingto  the 
Society  of  Antiquaries  of  London,'  1865.  On  being 
compelled  by  illness  to  resign  his  appointment  at 
the  National  Portrait  Gallery  in  1895,  Scharf  was 
made  a  K.C.B.,  and  was  appointed  a  trustee  of  the 
Gallery,  but  he  enjoyed  his  honours  for  only  a  short 
period,  and  died  on  April  19,  1895.  M.  H; 

SCHARF,  Johann,  born  at  Vienna,  July  isth,. 
1722,  was  a  botanical  drauglitsman  and  painter  of 
great  talent,  who  began  life  as  a  scullery  boy  in  a 
convent.  His  taste  for  design  manifesting  itself,  he 
managed  to  obtain  work  as  a  painter  of  wall-papers. 
In  this  position  he  attracted  the  attention  of  the 
botanist  Jacquin,  who  took  him  into  his  service  aa 
a  flower-painter.  His  unceasing  application  so  in- 
jured his  health  that  he  fell  into  a  consumption,  of 
which  he  died  at  Vienna,  October  5tli,  1794. 

SCHARNAGEL,  Franz  Sebastian,  painter,  born 
at  Bamberg  in  1791,  was  a  pupil  of  Sensburg,  and 
afterward  of  Geibel  and  Dorn.  In  1811  he  painted 
at  the  Academy  of  Munich,  but  returned  to  Bam- 
berg in  1815,  and  died  there  in  1831.  His  chief 
work  is  the  'Martyrdom  of  St.  Bartholomew.' 

SCHATEN,  HUDEP.T,  an  engraver  who  resided  ' 
at  Copenhagen,    and    engraved   several   portraits 
during  the  latter  half  of  the  17th  century,  between 
1675  and  1694. 

SCHATTENHOFER,  Amalie  von,  ne'e  Baader, 
born  at  Erding,  in  Bavaria,  in  1763,  was  a  pupil  of 
Dorner,  at  Munich,  where  she  settled  as  a  painter 
in  crayons.  She  also  etched.  She  died  at  Munich 
in  1840. 

SCHAUBROEK,  Pieter,  (Schoebroek,)  painter, 
born  at  Antwerp  in  1542,  was  a  pupil  and  imitator 
of  Jan  Brueghel.     He  died  at  Antwerp  in  1605. 

Brunswick.        Gallery.    John  the  Baptist  preaching. 
Cassel.  Galhry.    Burning  of  Ti-oy. 

33 


A  BIOGRAPHICAL  DICTIONARY  OP 


Copenhagen. 
Vienna. 


Gallery.     View  in  a  Village. 
Gallery.     jEneas  and  Anchises. 


SCHAUFDS,  a  German  painter  and  etcher,  who 
flourished  at  Dresden  in  the  18th  century.  He  was 
a  pupil  of  J.  E.  Schbnau,  and  painted  miniatures, 
He  also  engraved  some  plates  after  Vandyck, 
Mengs,  and  Solimena. 

SCHAUR,  Philip.  This  name  is  appended  to  an 
etching  of  a  bearded  old  man  in  spectacles,  mending 
a  pen,  with  an  hour-glass  and  books  before  him. 

SCHAW,  William.  There  are  some  important 
drawings  of  Holyrood  Palace  preserved  in  Scotland 
amongst  the  Crown  property  believed  to  be  the 
work  of  William  Schaw,  who  was  Master  of  Works 
in  the  household  of  James  VI.  He  was  born  in 
1550,  and  when  about  forty  years  of  age  was 
employed  in  connection  with  some  alterations  to 
Holyrood,  and  some  repairs  at  Dunfermline.  He 
accompanied  King  James  to  Denmark,  and  some 
sketches  of  Danish  scenery,  his  work,  are  preserved 
at  Fredensborg  Palace.  He  attracted  the  attention 
of  Queen  Anne  of  Denmark  when  in  her  own 
country,  and  became  her  chamberlain  in  Scotland, 
and  the  Queen  erected  a  tomb  at  Dunfermhne 
Abbey  to  his  memory.  He  died  in  April  1602,  and 
was  a  [man  who  appears  to  have  been  greatly 
esteemed  by  all  who  knew  him. 

SCHEBOUYEFF,  Wassilyi  Kousmitsch,  painter, 
born  at  Cronstadt,  in  1777,  was  a  pupil  of  the 
St.  Petersburg  Academy.  In  1803  he  went  to 
Rome,  where  he  painted  a  '  Decapitation  of  John 
the  Baptist.'  In  1807  he  returned  to  St.  Peters- 
burg, and  became  Professor  of  Historical  Painting, 
and  afterwards  Director,  of  the  St.  Petersburg 
Academy.  His  '  St.  Basil  the  Great,' '  St.  Gregory,' 
and  '  St.  John  Chrysostom,'  are  in  the  cathedral 
at  Kasan;  his  'St.  John  in  the  Wilderness,' 'As- 
sumption of  the  Virgin,'  and  '  The  Patriot  Igolkine,' 
in  the  Hermitage.     He  died  in  1855. 

SCHEDLER,  Johann  Georg,  (Schaedler,)  painter 
and  etcher,  was  born  at  Constance  in  1777.  He 
devoted  himself  first  to  miniature  painting,  but 
afterwards  took  to  landscapes  in  gouache.  He 
eettled  at  Innsbruck,  where  he  died  in  1845. 

SCHEUONE.     See  Schidone. 

SCHEDRIN.     See  Schtschedrin. 

SCHEELE  NEEL.    See  Molenaer,  Cornelis. 

SCHEERES,  Hendrik  Jan,  an  obscure  Dutch 
painter,  the  pupil  of  Van  Hove,  was  born  at  the 
Hague  in  1829,  and  died  in  1864. 

SCHEFFER,  Arnold,  the  son  of  Henri  Scheffer, 
was  born  in  Paris,  and  studied  under  his  father 
and  Picot.  From  1859  to  1870  he  exhibited  occa- 
sionally at  the  Salon,  chiefly  scenes  from  French 
history.  In  the  Museum  at  Besanjon  there  is  a 
'  Funeral  Procession  in  honour  of  the  Duke  of 
Guise,'  by  him.  He  died  during  a  visit  to  Venice, 
in  1873,  while  still  young. 

SCHEFFER,  Ary,  painter,  born  at  Dordrecht  on 
the  12th  February,  1795,  was  the  son  of  Johann 
Baptist  Scheffer,  an  artist  of  German  extraction, 
settled  in  Holland,  and  practising  as  court-painter 
at  Amsterdam  ;  and  of  his  wife,  Cornelia  Lamme, 
of  Dordrecht,  also  an  artist.  Ary  and  liis  brother 
Hendrik  received  their  first  instruction  from  their 
father,  and  Ary  is  said  to  have  shown  a  precocious 
talent,  and  to  have  exhibited  a  picture  when  only 
twelve  years  old.  In  1810  he  sent  a  portrait  to 
the  Amsterdam  Exhibition.  In  the  following  year 
his  father  died,  and  Cornelia  SohefEer,  a  woman  of 
much  energy  and  strength  of  character,  resolved 
to  take  her  three  sons  to  Paris  to  complete  their 
34 


education.  Settling  in  the  French  capital,  she 
placed  both  Ary  and  Hendrik  with  Pierre  Gu^rin  as 
pupils  ;  and  in  1816  Ary  gained  the  chief  prize  for 
painting  at  Antwerp,  the  subject  of  his  picture 
Ijeing  'Abraham  and  the  Three  Angels.'  Ary  soon 
began  to  be  favourably  known  in  Paris  as  an  indus- 
trious painter  of  small  genre  pictures,  of  which 
his  '  Soldier's  Widow,'  '  Sailor's  Family,'  '  Sister  of 
Mercy,' '  Orphans  in  the  Churchyard,'  are  examples. 
These  became  widely  popular  by  means  of  litho- 
graphs. A  few  more  ambitious  works  dating  from 
this  early  period  are:  '  Death  of  St.  Louis  '  (1817), 
'Socrates  and  Alcibiades' (1818), 'The  Surrender 
of  the  Burghers  of  Calais'  (1819).  The  year  1822 
was  a  marked  one  in  his  career,  his  reputation 
being  greatly  enhanced  by  a  picture  then  exhibited, 
'  The  Shades  of  Francesca  da  Rimini  and  her  Lover 
appearing  to  Dante  and  Virgil ; '  and  in  this  same 
year  he  painted  the  'St.  Louis  visiting  his  plague- 
stricken  Soldiers,'  for  the  church  of  St.  Francois 
d'Assiee,  in  Paris. 

His  early  works,  though  painted  in  the  French 
manner,  show  a  strong  leaning  towards  the  pathetic 
and  emotional  vein  which  was  the  characteristic 
note  of  his  mature  art.  In  his  second  period  Ary 
SchefEer  sought  inspiration  from  the  greater  poets 
and  from  the  Scriptures.  T^'pical  examples  in  both 
styles  are  the  '  Beatrice '  and  '  Francesca  da  Rimini,' 
exhibited  at  the  Salon  of  1835;  and  the  'Christ 
bearing  His  Cross,' '  Christ  the  Consoler,'  and  '  Ruth 
and  Naomi.'  Like  David,  SchefEer  combined  with 
his  artistic  pursuits  an  enthusiastic  interest  in 
politics,  and  was  a  warm  partisan  of  the  Orleans 
family.  Introduced  to  them  by  Gerard  in  1826,  he 
became  drawing-master  to  the  children  of  Louis 
Philippe,  and  his  professional  relations  with  them 
soon  developed  into  an  affectionate  intinjacy,  the 
Princess  Marie  in  particular  being  greatly  attached 
to  him.  In  1830,  when  the  events  of  the  Revolution 
placed  Louis  Philippe  on  the  throne,  Schefi'er  rode 
to  Neuilly  in  company  with  Thiers  to  tell  the  Prince 
he  was  king.  Faithful  to  him  in  misfortune, 
Scheffer  was  also  with  him  when  the  outbreak  of 
1848  forced  him  from  the  Tuileries. 

A  journey  through  the  Netherlands  in  1829  to 
study  Rembrandt  and  the  Flemish  masters  had  a 
certain  influence  upon  Scheffer's  later  manner. 
To  this  belong  the  works  suggested  by  Goethe's 
'  Faust,'  and  many  others  inspired  by  the  poems  of 
Byron,  Biirger,  Schiller,  Dante,  &c.  For  the  his- 
torical gallery  at  Versailles  he  painted  several 
pictures,  which  will  be  found  mentioned  below. 
At  the  death,  in  1839,  of  his  mother,  to  whom  he 
was  greatly  attached,  he  made  his  first  and  only 
essay  in  sculpture.  Desiring  that  no  other  than 
himself  should  undertake  the  monument  to  her 
memory,  he  designed  and  carried  out  in  marble  a 
full-length  figure  for  her  tomb,  but  the  result  is 
interesting  only  as  evidence  of  filial  affection. 

Scheffer,  who  was  an  officer  of  the  Legion  of 
Honour,  commanded  a  battalion  of  the  National 
Guard  during  the  disturbances  of  June,  1848,  and 
his  services  were  recognized  by  an  offer  of  the 
cross  of  a  commander,  which,  however,  he  declined. 
His  political  activity  brought  him  into  contact 
with  all  opinions  and  classes,  and  he  is  said  to 
have  been  a  man  of  much  culture  and  intelligence, 
and  of  great  kindliness  and  benevolence  of  dis- 
position. His  open-handed  generosity  prevented 
him  from  amassing  a  fortune,  and  in  spite  of  the 
large  sums  which  he  received  for  some  of  his  pic- 
tures, at   his  death  he  left  no  savings.     In  his 


ARY  SCHEFFER 


Hatijstangl  photo\ 


ST.  AUGUSTINE  AND  ST.  MONICA 


\_National  Gal/cry' 


PAINTERS  AND  ENQBAVERS. 


political  career  he  was  singularly  sincere  and 
upright  in  conviction  and  aims.  As  an  artist  he 
cannot  be  said  to  take  a  high  rank,  though  few 
modern  painters  have  enjoyed  a  greater  degree  of 
present  popularity.  His  drawing  is  correct,  and 
his  taste  refined  and  elevated,  but  his  merit  lies 
rather  in  poetry  of  sentiment  and  in  a  certain 
devotional  fervour,  than  in  individuality  of  treat- 
ment or  artistic  handling,  while  as  a  colourist 
his  shortcomings  are  very  marked.  He  died  at 
Argenteuil,  near  Paris,  on  the  15th  June,  1858. 
The  following  are  among  the  better  examples  of  his 
work  :  F.  S. 

Lille.  Museum.    '  The  Dead  ride  fast." 

London.      Nat.  Gallery.     SS.  Augustine  and  Monica. 

„  Portrait  of  Mrs.Robert  Holland. 

J,'        Kat.  Port.  Gall.    Portrait  of  Charles  Dickens. 
Marseilles.  Museum.    Mary  Magdalen. 

WontpeUier.  „  A  Philosopher. 

Nantes.  „  The  Charitable  Child. 

Paris.  Louvre.    Eberhard  of  'Wvirtemberg. 

„  „  The  Death  of  G^ricault. 

„  „  The  Vow  of  the  Suliot  Women. 

Eotterdam.         Gallery.    Eberhard  of  Wiirtemberg  cut- 
ting the  cloth. 
„  Eberhard   mourning    his    son 

Ulrich. 
„  „  Three  sketches. 

Versailles.  Gallery.    Gaston  de    Fois    found    dead 

after  Ravenna.     1824. 
„  „  The  Battle  of  Tolbiac. 

„  Charlemagne     dictating      his 

Ordinances.     1829.  _ 

„  „  Charlemagne      receiving     the 

submission      of     "Wittekind. 

1836. 

„  „  Philip  Augustus  entering  Paris. 

J,  „  St.  Louis  entrusts  the  Regency 

to  the  Queen. 
„  „  The  Entry  of  Charles  VII.  into 

Rheims. 
„  „  Entry    of     Louis    XII.    into 

Genoa. 
J,  „  Louis  Philippe    receiving  the 

1st  Regiment  of  Hussars. 
Faust's  Vision  of  Margaret. 
Margaret  in  the  Church. 

Portraits  of  Lamartiue  ;  Lamennais ;  Madame  Guizot, 
senr. ;  his  Mother;  Charles  Gounod;  FraDkljn ; 
Madame  Taglioni ;  Himself. 

SCHEFFER,  Hendrik,  painter,  brother  of  Ary 
Schefifer,  born  at  the  Hague  in  1798,  was  also  a 
pupil  of  Gu^rin.  He  was  not  without  merit,  though 
far  behind  his  brother.  His  drawing  was  incorrect, 
and  his  colour  cold.  His  principal  work  was  a 
'  Charlotte  Corday,'  and  we  may  also  mention: 

An  Inundation  in  Rome.  I      Joan  of  Arc. 

Hermann  and  Dorothea.  |      Madame  Roland. 

Preaching  after  the  Revocation  of  the  Edict  of  Nantes. 
The  Battle  of  Monte  Cassel.    (Versailles.) 

He  died  in  Pans  in  1861. 

SCHEFFER,  Johann  Baptist,  painter  and 
etcher,  born  at  Cassel  in  1773,  a  pupil  of  Tisch- 
bein,  went  early  to  Holland,  where  at  Dort  he 
married  Cornelia  Lamme  and  became  the  father  of 
Ary  Scheffer.  He  produced  several  large  historical 
works,  and  some  portraits  ;  among  the  latter  that 
of  King  Louis  of  Holland.  He  died  at  Amsterdam 
in  1809. 

SCHEFFER  von  LEONHARDSHOFF,  Johann 
Evangelist,  painter,  born  at  Vienna  in  1795,  became 
a  pupil  of  the  Academy.  His  talents,  however, 
attracted  the  attention  of  the  Graf  Franz  von  Salm- 
ReiiTerscheidt,  prince-bishop  of  Gurk,  who  sup- 
plied him  with  the  means  to  go  to  Italy.  In  1817 
he  painted  the  portrait  of  Pope  Pius  VII.,  who 
created  him  a  Knight  of  the  Order  of  Christ.  On 
D2 


his  return  to  Vienna  he  painted  a  'St.  Cecilia'  for 
Prince  Albert  of  Sachsen-Teschen,  and  then  re- 
turned to  Rome.  There  he  produced  his  master- 
piece, '  The  Dying  Cecilia,  supported  by  two 
Angels,'  now  in  the  Vienna  Gallery.  He  died  at 
Vienna  in  1822. 

SCHEFFER,  Jean  Gabriel,  painter,  horn  at 
Geneva  in  1797,  was  a  pupil  of  Regnault,  and  prac- 
tised for  many  years  in  Paris,  exhibiting  occasion- 
ally at  the  Salon.  Among  his  works  there  shown 
were :  '  The  Good  Samaritan,' '  Woman  of  Albano,' 
'  Conjugating  the  Verb  to  Love '  (in  ten  tableaux). 
He  also  published  a  number  of  lithographs,  forming 
various  series,  under  the  following  names :  '  Les 
Grisettes,'  '  Ce  qu'on  dit  et  ce  qu'on  pense,'  'Le 
Diable  Boiteux  a  Paris.'  He  last  appeared  at  the 
Salon  in  1846. 

SCHEFFER,  Paul,  a  German  painter,  who  is 
mentioned  by  De'  Domenici  as  having  painted 
pictures  for  the  church  of  San  Severino  at  Naples, 
in  1560. 

SCHEFFERS,   N.,  a  Dutch  historical   painter, 
born  at  Utrecht.     He  came  to  England  when  still 
young  to  practise  his  art,  and  had  at  first  to  submit 
to  much  disappointment  and  hardship.     Later  he 
gained  the  notice  of  the  painter  Verrio,  who  em- 
ployed him  as  his  assistant. 
SCHEFFLER.     See  Schafleb. 
SCHEGA,  Franz  Andreas,  die-cutter   and  en- 
graver, is  better  known  by  liis  medals  and  portraits 
in   reUef  than  by  his  pictures.     He  was  bom  at 
Neustadt  in  Carniola  in  1710.     The  son  of  a  gun- 
maker,  he  for  a  time  followed  his  father's  trade,  in 
which  he  gave  evidence  of  artistic  talent  by  tlie 
skill  with  which  he  engraved  his  guns.     Late  in 
life  he  painted  portraits  in  pastel,  some  of  which 
he  himself  engraved.     He  became  blind  in  1780, 
and  died  at  Munich  on  Deo.  6,  1787. 
SCHEGGIA.    See  Guidi,  Tommaso. 
SCHEIE,  Christian  Friedrich,  painter,  born  at 
Worms  in  1737,  was  a  pupil  of  Seekatz,  whose  style 
he  copied.     After  travelling  through  France,   he 
settled  at  Hamburg.     He  painted  small   pictures 
in  oils  and  water-colours,  principally  fire  efl'ects. 
He  died  in  the  workhouse  at  Hamburg  in  1810. 
SCHEINDEL.     See  Schetndel. 
SCHEINS,  Karl  Ludwig,  painter,  was  born  at 
Aix-la-Chapelle  in  1808.     He  studied  at  Diisseldorf 
under  Schirmer,  and  painted  mostly  woodland  and 
mountain  scenes.     He  died  at  Diisseldorf  in  1879. 
SCHEITZ,  Andreas,  (Scbeutz,)  son  of  Matthias 
Scheitz,  painter  and  etcher,  was  born  at  Hamburg 
in  1665.     He  followed  the  style  of  his  father.     He 
was  painter  to  the  Court  of  Hanover,  where  he  died. 
SCHEITZ,   Matthias,   was  bora    at   Hamburg 
about  the  year  1645,  and  was  a  follower  of  Philips 
Wouwerman,  whose  style  he  afterwards  abandoned 
for  that  of  David  Teniers.     He  designed  a  series  of 
Scriptural  illustrations,  which  were  engraved  by  J. 
de  Visscber  and  others,  and  pubhshed  at  Luneburg 
in  1672.     He  died  about  1700.     He  etched  fourteen 
plates  from  his  own  designs,  in  a  bold,  free  style, 
among  which  the  following  may  he  named  : 

The  Four  Seasons,  symbolized  by  the  Sports  of  Children ; 

in  four  plates  ;  M.  Scheitz,  fee.     1671. 
Two  Landscapes,  with  figures  dancing. 
An  old  Man  playing  on  the  Violin,  and  a  AVoman  singing 

before  the  door  of  a  Cottage. 
The  Spectacle  Merchant. 

There    are   pictures    by   him   at    Pommersfeld, 
Schwerin,  Brunswick,  and  Cassel. 
SCHEL,  Sebastian,  a  German  painter,  of  tlie 

35 


A  BIOGRAPHICAL  DICTIONARY  OF 


school  of  Diirer.  Amongst  his  works  was  the 
decoration  of  the  '  Paradise  Hall,'  in  the  royal 
palace  at  Innspruck.  An  altar-piece  by  him  in  the 
same  city  bears  the  following  inscription  :  "  Se- 
bastian Schel,  painter  of  Innspruck,  made  this 
picture  by  the  help  of  God."     He  died  in  1654. 

SCHELBER.     See  Schelver. 

SGHELDE.     See  Van  der  Schelde. 

SCHELFHOUT,  Andreas,  landscape  painter, 
born  at  the  Hague  in  1787,  received  his  first  in- 
struction from  the  scene  painter  Breckenheymer, 
and  in  1815,  with  his  'Winter  Landscape  '  now  in 
the  Amsterdam  Museum,  first  made  himself  a  name. 
He  painted  the  natural  scenery  of  Holland,  and  his 
works  are  numerous.  He  was  a  Member  of  the 
Academies  of  Amsterdam,  Brussels,  Ghent,  and  tlie 
Hague.  He  died  at  the  Hague  in  1870.  The 
Amsterdam  Museum  possesses  a  large  collection  of 
his  works. 

SCHELLENBERG,  Johann  Rddolph,  a  Swiss 
designer  and  engraver,  born  at  Basle  in  1740. 
He  was  the  son  of  J.  U.  Schellenberg.  Among 
other  plates,  he  engraved  several  for  Lavater,  and 
from  the  designs  of  Chodowiecki  ;  also  some  of  the 
portraits  and  ornamental  prints  for  the '  Lives  of  the 
Swiss  Painters,'  by  J.  0.  Fuessli.  He  also  engraved 
a  large  number  of  plates  for  works  on  entomology. 
He  died  at  Toss  near  Winterthur  in  1806. 

SCHELLENBERG,  Johann  Ulrich,  born  at 
Winterthur  in  1709,  was  a  pupil  first  of  a  house- 
painter  and  then  of  Huber  in  Berne.  lie  superin- 
tended a  Drawing-school  in  Winterthur  and  painted 
portraits  and  landscapes.  He  was  the  master  of 
Anton  Graff.     He  died  at  Winterthur  in  1770. 

SCHELLENBERGER,  Johann  Jacob,  a  German 
engraver,  who  flourished  about  the  year  1660.  He 
engraved  some  of  the  plates  for  Priorato's  '  History 
of  the  Emneror  Leopold.'     He  was  living  in  1674. 

SCHELLINCKS,  Daniel,  the  brother'of  Willem 
Schellincks,  was  born  at  Amsterdam  in  1638  (?),and 
painted  landscapes  and  seaports  with  some  success. 
He  died  in  1701.  Several  good  chalk  drawings  by 
him  are  to  be  seen  in  the  Albertina  Collection, 
Vienna. 

SCHELLINCKS,  Willem,  (Schellixgs,  Schel- 
LINKS,)  was  born  at  Amsterdam  in  1632,  and,  from 
the  style  of  his  pictures,  is  supposed  to  have  been 
a  scholar  of  Jan  Lingelbach.  He  travelled  through 
France,  Switzerland,  Italy,  and  it  is  said  England. 
He  painted  landscapes  and  sea-ports,  with  figures. 
The  sunny  effect  in  some  reminds  us  of  Karel 
du  Jardin  ;  his  animals  are  well  drawn,  and  his 
groups  well  composed.  On  the  embarkation 
of  Charles  II.  for  England,  at  the  Restoration, 
Schellincks  painted  a  large  picture  of  the  scene  for 
the  family  of  Witsen.  It  contained  a  vast  number 
of  well-grouped  figures.  He  painted  the  burning 
of  the  English  Fleet  in  the  Medway,  and  was  also 
much  employed  in  inserting  figures  in  the  pictures 
of  Wynants  .ind  Heusch.  'The  works  of  Schellincks 
are  to  be  found  at  St.  Petersburg,  Copenhagen, 
Frankfort,  and  Augsburg.  He  made  drawings  of 
Stonehenge,  as  it  then  existed,  and  of  several  other 
objects  that  would  attract  a  stranger  in  England  ; 
there  is,  therefore,  little  doubt  as  to  his  having  been 
here.     He  died  in  1678. 

SCHELTEMA,  Taco,  born  at  Harlingen  in  1760, 
distinguished  himself  as  a  portrait  painter.  He 
formed  himself  on  Van  Dyck.  After  visiting  Diis- 
seldorf  he  went  to  Saxony,  where  he  painted  many 
portraits,  but  afterwards  returned  to  his  own  country, 
and  resided  alternately  at  Amsterdam  and  Rotter-  J 
36 


dam.  He  pamted  the  portraits  of  the  founders  and 
directors  of  the  Batavian  Society,  and  numerous 
family  pictures.     He  died  in  1837. 

SCHELVER,  AoGUST  Franz,  genre  and  battle 
painter,  born  at  Osnaburg  in  1805,  was  first  a 
pupil  of  Neelmeyer,  and  then,  with  assistance  from 
his  native  town,  went  to  Munich  for  improvement. 
In  1833  he  produced  his  picture  of  the  Battle  of 
Hanau,  but  hunting  scenes,  horse-market  scenes, 
and  battles  constitute  the  principal  part  of  his  works. 
He  died  at  Munich  in  1844.  In  the  Munich  Pina- 
kothek  is  a  picture  by  him  of  a  Tyrolese  wagon 
coming  up  a  rocky  pass. 

SCHENAU,  (Schonau,)  Johann  Eleazae.  See 
Zeisig. 

SCHENCK,  August  Friedrich  Albrecht, 
Danish  painter  ;  born  at  Gliickstadt  (Holstein), 
April  2,3,  1828 ;  became  a  pupil  of  L.  Cogniet ; 
and,  after  working  in  England  and  Portugal,  he 
went  through  a  further  course  of  study  at  the 
Ecole  des  Beaux  Arts.  He  settled  at  Ecouen, 
near  Paris,  and  soon  made  his  mark  at  the  Salon 
by  several  vigorous  and  soundly-painted  composi- 
tions. Besides  animals,  he  painted  effective  land- 
scapes, notably  snow-scenes  with  horses,  sheep 
and  dogs.  Of  his  works  we  may  mention  :  '  Paysans 
polonais  attaqiies  par  des  loiips,'  'Troupeau  de 
chfevres  en  detresse,'  '  Moutons  Montagnards,'  '  Les 
Survivants  du  Troupeau,'  &c.  He  obtained  a 
Salon  medal  in  1865,  and,  in  1885,  the  Legion  of 
Honour.     He  died  at  Ecouen,  January  1,  ItiOl. 

SCHENCK,  Pieter,  was  born  at  Elberfeld  in 
1645,  but  studied  drawing  at  Amsterdam.  As  an 
engraver  he  commenced  with  some  topographical 
works,  in  which  he  was  assisted  by  Gerard  Valoke, 
who  afterwards  taught  him  mezzotint,  in  which 
process  he  engraved  a  large  number  of  portraits. 
In  1683-4  they  became  partners,  and  it  is  difficult 
thenceforward  to  distinguish  their  numerous  pub- 
lications from  their  actual  performances.  Augustus 
II.,  Elector  of  Saxony  and  King  of  Poland,  named 
Schcnck  engraver  to  his  court.  Schenck  died  at 
Amsterdam  about  1715.  A  long  list  of  his  prints 
is  given  by  Nagler.  There  is  f  good  collection  in 
the  British  Museum. 

SCHENDEL,  Bernard,  born  at  Haarlem  in 
1634,  was  a  scholar  of  Hendrik  Mommers.  He 
painted  conversations  and  merry-makings,  and  was 
a  good  draughtsman  and  colourist.  The  probable 
date  of  his  death  was  about  1693. 

SCHENDEL,  Petrus  van,  painter,  born  at  Ter- 
heyden,  near  Breda,  in  North  Brabant,  in  1806, 
worked  at  the  Antwerp  Academy  from  1822  to 
1828,  under  Van  Bree.  Wiertz,  Leys,  and  Geerts 
were  his  fellow-pupils.  He  then  returned  to  Hol- 
land, living  successively  in  Amsterdam,  Rotterdam, 
where  he  painted  portraits,  and  the  Hague.  Thence 
he  went  to  Brussels  in  1845.  He  produced  several 
Market  Scenes,  with  effects  of  light,  as  '  Evening 
Market  at  Antwerp,'  and  '  The  Fishmarket,'  both  in 
the  National  Gallery  at  Berlin;  '  Market  by  Moon- 
light,' in  the  Pinakothek  at  Munich.  He  also  painted 
a  few  subjects  from  sacred  and  profane  history  and 
portraits.     He  died  at  Brussels  in  1870. 

SCHENK,  C.  Wilhelm,  engraver,  bom  at  Leipsio 
about  1785,  worked  at  the  Academy,  and  engraved 
portraits  and  historical  subjects  for  books.  He 
went  afterwards  to  Brunswick.  He  has  left  a  small 
plate  from  Leonardo  da  Vinci's  '  Last  Supper.' 

SCHENK,  S.  P.     See  Tillemans. 

SCHENKER,  S.  Nikolaus,  engraver,  born  at 
Geneva  in  1760,  went  in  1779  to  Paris,  and  began 


PAINTERS  AND  ENGRAVERS. 


his  independent  work  with  some  plates  after  Scliall. 
His  principal  work  was  the  '  Madonna  di  Foligno,' 
after  Raphael.  Other  plates  are  a  portrait  of 
Henry  IV.  of  France,  at  the  age  of  fifteen,  and  one 
of  Wieland,  after  Kiigelgen.     He  died  in  1822. 

SCHERENBERG,  Hermann,  German  painter; 
born  January  20,  1826,  at  Swinemunde  ;  became  a 
pupil  at  the  Berlin  Academy  in  1842,  and  also 
studied  at  Diisseldorf  under  Theodor  Hildebrandt. 
After  residence  at  Antwerp  he  returned  to  his 
home,  and  some  years  later  entered  Couture's  studio 
in  Paris.  His  first  picture  exhibited  at  Berlin  was 
'  Die  Ungleichen  Schwestern,'  and  he  also  helped 
Burger  to  complete  the  decoration  of  the  Berlin 
Rathshaiis.  As  an  illustrator  Soherenberg  stood 
with  the  first,  and  for  years  was  a  constant  con- 
tributor to  the  '  Illustrirte  Zeitung,'  '  Kladdera- 
datsch,'  and  '  Fliegende  Blatter.'  He  died  at  Gross 
Liohterfelde,  near  Berlin,  August  21,  1897. 

SCHERM,  LoBENZ,  engraver,  born  in  the  Rhine 
provinces  about  1690,  went  to  Amsterdam,  and 
worked  there  from  1720  to  1735.  His  works  are 
mainly  architectural,  but  he  also  engraved  a  few 
landscapes  with  figures. 

SCHERMIER,  Coenelis,  a  Flemish  decorative 
painter,  who  in  the  16th  century  worked  for  the 
church  of  S.  Gudule  at  Brussels. 

SCHERTL,  Joseph,  landscape  painter,  was  bom 
at  Augsburg  in  1810.  He  began  his  studies  with  a 
lithographer  in  his  own  city,  and  then,  in  1832, 
went  to  Munich,  and  studied  landscape  under  Fohr 
and  Morgenstern.  He  is  principally  known  by  his 
pictures  of  the  neighbourhood  of  Munich.  He  died 
at  Munich  in  1869. 

SCHETKY,  John  Alexander,  a  brother  of  John 
Christian  Schetky,  was  bom  at  Edinburgh  in  1785. 
He  was  educated  for  the  medical  profession,  and 
was  appointed  Assistant-Surgeon  to  the  3rd  Dra- 
goon Guards,  and  with  his  regiment  joined  the 
army  in  the  Peninsula.  He  was  attached  to  the 
7th  Division  under  Lord  Dalhousie,  and  served  till 
the  end  of  the  war.  During  this  time  all  his  spare 
moments  were  taken  up  witli  drawing  from  nature, 
and  he  sent  homo  a  number  of  sketches  illustrative 
of  the  scenery  in  the  Pyrenees,  which  showed  a 
decided  originality  and  much  imagination.  His 
artistic  power  was  afterwards  devoted  principally  to 
the  delineation  of  external  and  internal  pathology, 
and  after  his  appointment  to  the  General  Hospital  at 
Fort  Pitt,  Chatham,  he  contributed  many  valuable 
drawings  to  the  Museum  of  Morbid  Anatomy  estab- 
lished by  Sir  James  M'Grigor.  He  was  promoted 
to  the  post  of  Deputy  Inspector  of  Hospitals  on 
the  coast  of  Africa,  and  died  ofE  Cape  Coast  Castle 
in  1824. 

SCHETKY,  John  Christian,  born  at  Edinburgh 
in  1778,  was  a  pupil  of  Nasmyth,  and  devoted  him- 
self to  marine  painting  in  the  style  of  Vandevelde. 
He  held  the  appointment  of  Professor  of  Civil 
Drawing  at  the  Royal  Military  College  at  Great 
Marlow,  the  Royal  Naval  College  at  Portsmouth, 
and  the  East  India  College  at  Addiscombe,  success- 
ively, during  a  period  of  forty-seven  years.  He 
was  appointed  painter  in  water-colours  to  William, 
Duke  of  Clarence,  and  was  marine  painter  to  George 
IV.,  Wilham  IV.,  and  Queen  Victoria  respectively. 
His  painting  of  marine  subjects  is  respectable,  and 
his  accuracy  in  minute  details  of  naval  architecture 
unsurpassed.  His  principal  works  are  :  '  The  Battle 
off  Cape  La  Hogue;'  'The  Endymion  Frigate, 
Admiral  Sir  Charles  Paget,  relieving  a  French  Man- 
of-War  ashore  on  a  rock-bound  coast ; '  '  The  Battle 


of  Trafalgar;'  and  'The  Sinking  of  the  Royal 
George.'  The  last-named  is  now  in  the  National 
Gallery.     Schetky  died  in  London  in  1874. 

SCHEDBEL,  Johann  Joseph  (I),  painter,  born 
at  Ratisbon  about  1675,  was  painter  to  the  Prince 
Bishop,  at  whose  expense  he  was  sent  to  Venice. 
On  his  return  he  painted  altar-pictures  for  the 
church  of  St.  Stephen  at  Bamberg,  (a  '  Stoning  of 
Stephen,' a  'Descent  from  the  Cross,'  &c.)  an  altar- 
piece  for  the  Jakobskirche,  and  a  ceiling  for  the 
Gangolfskirche.    He  died  at  Ratisbon  in  1778. 

SCHEUBEL,  Johann  Joseph  (II),  painter,  son 
of  Johann  Scheubel,  born  at  Bamberg  about  1720, 
was  pupil  of  Georg  Desmart^es,  and  travelled  at  the 
Bishop's  expense  through  France  and  Italy.  On 
his  return  he  was  appointed  court  painter.  The 
Bishop  sent  him  to  Paris  in  1776,  where  he  painted 
four  allegorical  scenes  in  the  Hotel  de  Ville.  In 
1778  he  returned  to  Bamberg,  and  died  there  in  1783. 

SCHEUCHZER,  Wilhelm,  painter,  born  at 
Zurich  in  1803,  was  a  pupil  of  Heinrich  Maurer. 
Ho  travelled  in  Switzerland,  and  then  from  1826  to 
1829  worked  in  the  Black  Forest  on  pictures  for 
the  Prince  of  Fiirstenberg.  His  landscapes  were 
much  valued  for  their  truthfulness  to  nature  and 
the  freshness  of  their  colouring.  He  died  at 
Munich  in  1866. 

SCHEUFFELIN.     See  Schadfelin. 

SCHEUREN,  Kaspar  Johann  NEPOiinK,  Ger- 
man painter  and  engraver ;  born  at  Aachen, 
August  22,  1810 ;  studied  at  the  Diisseldorf 
Academy  under  Lessing  and  Schirmer.  He 
painted  landscapes  not  devoid  of  delicate  poetiy, 
and  executed  numerous  charming  water-colour 
drawings  wliich  certainly  will  make  his  name 
remembered.  In  the  Galleries  of  Berlin,  Ham- 
burg, Hanover,  Cologne,  Leipzig,  and  Munich, 
examples  of  his  work  will  be  found ;  he  obtained 
the  Red  Eagle  Order  of  the  second  class,  the 
Swedish  gold  medal  for  art  and  science,  as  well 
as  other  decorations.  The  scenery  of  the  Rhine 
provided  him  with  some  of  the  most  effective 
motives  for  his  pictures.  He  became  Professor  at 
Diisseldorf  in  1855,  and  died  there  June  12,  1887. 

SGHEVENHUYSEN,  Anthony,  a  Dutch  en- 
graver, who  flourished  about  the  year  1695.  He 
engraved  the  trades  of  Holland  in  a  set  of  one 
hundred  small  plates. 

SCHEYNDEL,  (Scheindel,)  George  van,  a 
Dutch  engraver,  who  resided  at  Rotterdam  about 
the  year  1635.  He  engraved  several  plates  in  a 
style  resembling  that  of  Callot.  His  landscapes 
are  filled  with  figures  correctly  drawn,  and  touched 
with  spirit.  He  was  a  contemporary  of  Wilham 
van  Buytenweg,  after  whom  he  engraved  some 
plates.  We  have,  among  others,  the  following 
prints  by  him  : 

The  Funeral  Procession  of  William  the  Silent ;  in  four 

plates. 
A  pair  of  Landscapes,  with  Peasants  amusing  themselves. 
The  Tooth-drawer. 

A  Village  Festival,  with  Boors  iSghting. 
Ditto,  with  a  Qnack-Doctor. 
A  "Winter-piece,  with  Skaters  on  the  ice. 
A  Landscape,  with  a  Waterfall. 
A  Landscape,  with  a  Bridge. 

A  set  of  four  Views  of  a  Castle,  one  with  a  'Windmill. 
A  set  of  twelve  Landscapes,  with  Dutch  inscriptions. 
A  set  of  twelve  plates  of  European  costumes. 
Twelve  plates  of  Dutch  costumes. 

Scheyndel  was  at  work  as  late  as  1660. 

SCHIANTBSCHI,  Domenico,  an  Italian  painter 
of  the  18th  century.  He  was  a  pupil  of  the  Bibieni, 

37 


A  BIOGRAPHICAL  DICTIONARY  OF 


and   practised  at  Borgo  San  Sepolcro,  where  he 
painted  decorative  perspectives  in  palazzi. 

SCHIAVO,  Paolo,  was  a  pupil  of  Masolino  da 
Panicale,  whose  style  he  is  said  to  have  imitated. 
His  '  Madonna  and  Child  with  a  St.  John  the  Baptist 
and  another  Saint,'  now  much  damaged,  may  still 
be  seen  on  the  wall  of  the  Canto  di  Nelli,  at 
Florence. 

SCHIAVONE,  Andrea.     See  Meldolla. 

SCHIAVONE,  Gregobio,  a  Dalmatian  living  in 
the  15th  century,  was  a  pupil  of  Siiuarcione.  He 
was  employed  in  the  decorations  of  the  Eremitani 
Chapel,  Padua,  and  painted  the  'Enthroned  Virgin 
and  Child,'  now  in  the  Berlin  Gallery,  while  the 
side  panels  of  this  altar-piece,  with  the  figures  of 
St.  Louis  and  St.  Anthony  of  Padua,  are  in  the 
Canons'  sacristy  at  Padua.  The  National  Gallery, 
London,  has  two  pictures  by  him,  a  '  Madonna  and 
Child,  enthroned,  with  Saints,' and  a  '  Madonna  and 
Infant  Christ.'  Schiavone  was  fond  of  proclaiming 
himself  the  disciple  of  Squarcione  in  his  signatures. 
He  flourished  from  about  1440  to  1470. 

SCHIAVONE,  Luca,  a  decorative  painter,  who 
flourished  at  Milan  about  1450.  He  excelled  in 
designing  embroidery  for  ecclesiastics. 

SCHIAVONETTI,  LuiGi,  engraver,  born  at  Bas- 
sano  in  17C5,  was  the  son  of  a  stationer,  and  from 
his  infancy  displayed  a  taste  for  drawing.  Before 
he  was  thirteen  he  had  made  some  progress  with- 
out the  help  of  a  master,  when  he  was  placed 
under  the  tuition  of  Giulio  GoHni,  by  whom  he  was 
taught  for  three  years,  at  the  end  of  which  his 
master  died.  He  now  turned  his  thoughts  to  en- 
graving. A  copy  of  a  '  Holy  Family,'  in  line,  from 
a  print  engraved  by  Barto  Corri,  after  Carlo  Maratti, 
gained  him  immediate  employment  from  Count 
Kemaudini.  The  works  of  Bartolozzi  were  then  in 
vogue  at  Bassano,  and  Schiavonetti  imitated  several 
with  great  success.  Some  of  his  copies  were 
shown  to  Bartolozzi  by  one  Testoloni,  as  his  own, 
but  when  Schiavonetti  himself  came  to  England, 
the  deception  was  exposed,  and  Bartolozzi  received 
him  into  his  house.  After  working  for  some  time 
under  Bartolozzi,  he  set  up  for  himself,  and  prac- 
tised with  much  success  until  his  death,  which 
happened  in  June,  1810,  in  London. 

The  following  are  among  Schiavone tti's  principal 
works  : 

Events  in  the  life  of  Louis  XVI. ;  four  plates ;  after 
Benazech. 

The  cartoon  of  Pisa  ;  after  Michel-Jnr/e!o  Buonarroti. 

Portrait  of  Vandyck,  iu  the  character  of  Paris. 

The  Mater  Dolorosa  ;  after  I'andyck. 

The  Lauding  of  the  I5ritish  Troops  in  Egypt ;  after 
LoutJierhourg. 

A  set  of  etchings  for  Blair's  Grave  ;  after  Blake. 

The  Canterbury  Pilgrimage  ;  after  Stothard. 

Dead  Christ ;  after  t'andi/ek. 

Portrait  of  Berchem  ;  after  Eemlrandl. 

The  Death  of  General  Wolfe,  engraved  from  a  gem  by 
ilarcbant,  in  the  original  unpublished  Museum  ^yo^s- 
leyanum.     There  is  a  copy  in  the  smaller  edition. 

Death  of  Virginia  ;  after  Tresham. 

Marriage  at  Cana ;  after  Pellegrini. 

Death  of  Tippo  Sahib ;  afta-  Singleton. 

Queen  Elizabeth  ;  after  Westall. 

Portrait  of  the  Duke  of  York  ;  after  Bo'jdell. 

Queen  of  Prussia  and  her  sister  ;  after  Tischhein. 

Portrait  of  W.  Blake  ;  after  T.  Philips. 

Plates  in  '  The  Italian  School  of  Design,'  published  by 
Ottleii.  Also,  iu  Chamherlaine's  collection  of  repro- 
ductions of  Italian  drawings ;  and  '  Specimens  of 
Ancient  Sculpture,'  published  by  the  Society  of 
Dilettanti. 

'Sweet  China  Oranges'  and  'Milk  Below,  Maids,' for 

^    Wheatley's 'Cries  of  London.' 
38 


SCHIAVONETTI,  NiccoLO,  was  the  younger 
brother  of  Luigi  Schiavonetti,  and  executed  some 
plates  in  the  stj-le  of  that  artist,  though  he  worked 
chiefly  in  conjunction  with  him,  helping  him  espe- 
cially in  the  'Tippo  Sahib' and  tl:e  'Canterbury 
Pilgrims.'  He  engraved  in  stipple  'New  Mackrel ' 
(published  1795)  for  Wheatley's  '  Cries  of  London.' 
He  did  not  long  survive  his  brother,  but  died  in 
Londoji  in  1813. 

SClllAVONI,  Felice,  a  painter,  born  at  Trieste 
in  1803,  was  a  son  and  pupil  of  Natale  Schiavoni, 
whom  he  followed  to  Vienna  and  Milan.  Ha 
settled  at  Venice  in  1830,  where  he  painted  historical 
and  mythological  subject'.  His  best  works  are  his 
'  Descent  from  the  Cross '  and  '  Raphael  painting 
the  Fomarina.'     He  died  in  1868. 

SCHIAVONI,  Natale,  an  eminent  painter  and 
distinguished  engraver,  was  born  at  Chioggia  in 
1777.  He  studied  engraving  under  Raffael  Mor- 
glien,  at  Florence,  but  in  1797  went  to  Venice, 
and  studied  under  Maggioto.  His  first  important 
work  was  a  '  St.  Francis '  for  the  church  of  that 
saint  in  Chioggia ;  he  then  for  a  time  painted 
miniature  portraits.  From  1802  to  1816  he  lived 
in  Trieste,  and  in  which  latter  year  he  painted 
portraits  of  the  Emperor  and  Empress  of  Austria. 
In  1825  he  went  to  Milan,  and  divided  his  attention 
pretty  evenly  between  painting  and  engraving. 
In  1841  he  painted  a  large  altar-piece  for  St.  An- 
tonio in  Trieste,  and  afterwards  a  fine  '  Magdalene,' 
now  in  the  Belvedere,  at  Vienna.  He  painted 
many  '  Bathing  Venuses,'  in  which  he  could  display 
bis  skill  in  the  nude ;  he  made  a  copy  of  Titian's 
'  Assumption,'  now  in  Russia  ;  and  produced  with 
the  help  of  his  sons  a  largo  '  Adoration  of  the 
Magi.'  His  celebrity  as  an  engraver  is  chiefly 
owing  to  his  splendid  plates  after  Titian's  '  As- 
sumption of  the  Virgin,'  and  '  The  Entombment.' 
There  is  also  a  portrait  of  the  Marquis  Manfredini, 
which  is  considered  a  chef-d'mitvre.  About  1840 
he  became  a  Professor  of  the  Venetian  Academy. 
He  died  in  Venice  in  1858. 

SCHICK,  Gottlieb,  an  historical  portrait  and 
landscape  painter,  was  born  at  Stiittgart  in  1779. 
In  1798  he  went  to  Paris,  and  commenced  his 
artistic  studies  in  the  atelier  of  David.  In  1802  he 
returned  to  Stiittgart,  but  soon  went  on  to  Rome. 
He  had  some  imagination,  and  his  pictures  are  in 
many  instances  distinguished  by  simplicity  and 
purity  of  sentiment.  '  The  Sacrifice  of  Noah,' 
'  David  pla3-ing  before  Saul,'  and  '  Apollo  with 
the  Shepherds,'  the  last  in  the  palace  at  Stiittgart, 
are  among  his  best  works.  There  is  a  fine  '  Eve 
at  the  Fountain,'  by  him  in  the  Wallraf-Richartz 
Museum,  Cologne.  He  excelled  in  portraiture,  and 
painted  several  members  of  the  Humboldt  family, 
and  other  distinguished  persons.  His  landscapes 
are  of  the  heroic  kind,  enriched  with  subjects  from 
the  poets.  Schick  was  one  of  the  founders  of 
modern  German  art.  He  died  at  Stuttgart  in 
1812. 

SCHIDONE,  (ScHEDONE,)  Bartolommeo,  painter, 
was  born  at  Modena  in  1560.  Although  he  is 
generally  allowed  to  have  been  brought  up  under 
the  Carracci,  his  works  exhibit  little  resemblance 
to  their  style.  He  rather  appears  to  have  formed 
himself  on  the  study,  of  Raphael  and  Correggio, 
but  his  style  has  a  sharpness,  severity,  and  dryness 
which  is  peculiar  to  him.  Schidone  had  already 
gained  some  reputation  at  Modena,  when  Duke 
Ranuccio  took  him  under  his  protection.  Ha 
painted  several  pictures  for  his  patron,  and  these, 


PAINTERS  AND  ENGRAVERS. 


with  many  other  works  of  art  in  the  possession  of 
the  Duke  of  Modena,  afterwards  came  into  the  col- 
lection of  the  King  of  Naples.  In  the  Palazzo 
Pubblico,  at  Modena,  he  painted  the  history  of 
Coriolanus,  and  seven  emblematical  figures,  in 
which  he  emulated  Correggio  ;  and  in  the  cathedral 
a  '  St.  Geminiano  resuscitating  a  dead  Child,'  which 
used  often  to  be  taken  for  a  production  of  that 
master.  His  works  are  extremely  rare  ;  in  con- 
sequence, it  is  said,  of  his  propensity  for  gaming, 
in  which  he  wasted  his  substance  and  time.  His 
death  is  said  to  have  been  occasioned  by  distress 
of  mind,  caused  by  losing  in  one  night  more  than 
he  was  able  to  pay.  It  took  place  in  1616,  at 
Parma. 


Darmstadt 

Gallery. 

St.  John. 

Dresden. 

Gallery. 

Flight  into  Egypt. 

Florence. 

Piiti  Falace. 

Holy  Family. 

)> 

Uffizi. 

Holy  Family. 

Glasgow. 

Gallery. 

Cupid  witii  an  Hour-glass. 

Modena. 

Cathedral. 

St.  Gemignano. 

)) 

Municipio. 

Coriolanus  and  Lis  mother. 

» 

Gallery. 

St.  Jerome. 

ij 

)» 

St.  John  the  Baptist. 

„ 

»» 

The  Dinner  at  Simon's  Housa. 

Naples. 

Museum. 

The  Holy  Family. 

)j 

» 

Charity. 

i» 

n 

St.  Sebastian  succoured  by  St. 
Irene. 

» 

I) 

The  Tribute-money. 

)> 

)» 

Christ  presented  to  the  People. 

)» 

j» 

The  Massacre  of  the  Innocents. 

»> 

j> 

Cupid. 

Several  Portraits. 

Paris. 

Louvre. 

Holy  Family. 

» 

n 

Christ  borne  to  the  Tomb. 

» 

The  Entombment. 

Parma. 

Museum, 

The  Last  Supper. 
A  Pieta. 

Venice. 

Academy, 

Descent  from  the  Cross. 

Vienna. 

Gallery, 
n 

The  Disciples  at  Emmaus. 
The  Entombment. 

SCHIERTZ,  August  Ferdinand,  painter,  born  at 
Leipsic  in  1804,  began  in  1830  to  study  art,  and 
painted  genre,  historical,  and  religious  pictures. 
His  best  works  are  :  '  Mortality,'  in  the  Museum  at 
Leipsic  ;  an  '  Adoration  of  the  Kings,'  in  the  church 
of  Bosenstadt ;  the  '  Descent  of  the  Holy  Ghost,' 
for  the  church  at  Podelwitz.  He  was  much  em- 
ployed in  the  restoration  of  old  pictures.  He  died 
at  Niederfahre,  near  Meissen,  in  1878. 

SCHIESL,  Ferdinand,  engraver,  bom  at  Munich 
in  1775,  was  a  pupil  of  Mettenleiter.  He  drew 
caricatures  and  engraved  vignettes  for  books.  He 
died  in  1820. 

SCHIEVELBEINE,  F.  A.  H.  This  German 
artist  devoted  the  greater  part  of  his  time  to 
architecture  and  sculpture,  but,  in  his  early  career, 
he  received  the  Grand  Prize  at  Berlin  for  painting. 
He  was  born  at  Berlin  in  1817,  and  was  a  pupil 
of  the  local  Academy,  afterwards  entering  the 
studio  of  Professor  Wichmann.  His  principal 
commission  was  the  work  he  executed  at  St. 
Petersburg  in  the  rebuilding  of  the  Winter  Palace, 
and  in  the  alteration  carried  out  to  St.  Isaac's 
Cathedral.  His  statuary  at  Konigsberg,  and  the 
frieze  in  the  National  Gallery  at  Berlin,  represent 
his  best  work  in  sculpture.  He  painted  two  im- 
portant pictures,  one  called  'Winter  Evening'  and 
the  other  '  Summer  Evening,'  and  he  died  ia  Russia 
in  1867. 

SCHIFFEB,  Anton,  landscape  painter,  was  born 
at  Gratz  in  1811.  He  was  a  student  of  the  Aca- 
demy at  Vienna.   His  best  works  are :  '  A  Mountain 


Panorama,'  and  '  View  of  the  MuhLsturzhorner, 
near  Berchtesgaden  ; '  '  View  from  the  Sohafberg, 
near  Ischl ; '  '  View  of  the  Schneeberg,  in  Lower 
Austria.'     He  died  in  1876. 

SCHILBACH,  J —  Heineich,  landscape  painter, 
was  born  at  Barchfeld  in  1798.  He  studied  at 
Darmstadt,  and  in  1823  travelled  in  Italy,  making 
many  sketches,  which  furnished  him  with  motives 
for  finished  oil-pictures.  In  1828  he  was  appointed 
court  scene-painter  at  Darmstadt.  Among  his  best 
known  landscapes  are,  a '  View  of  Mayence,'  a  '  View 
of  Rome,'  and  two  studies  of  Roman  scenery  in 
the  Tliorwaldsen  Museum  at  Copenhagen.  He  has 
left  a  considerable  number  of  etchings. 

SCHILCHER,  Antcn  von,  engraver  and  painter, 
was  born  at  Mindelheim  in  1796.  He  studied  at 
Munich,  and  entering  the  Bavarian  army  went  with 
General  Heydegger  to  Greece.  He  drew  and 
painted  military  and  genre  pictures.  He  died  at 
Paros  in  1828. 

SCHILDER  VON  BABIXBERG,  Johann,  an  early 
German  painter,  a  native  of  Oppenheim.  He  was 
a  contemporary  of  '  Master  Wilhehn,'  and  about 
1382  was  engaged  to  paint  the  high  altar  of 
Frankfort  cathedral. 

SCHILDKROTE  (The  Turtle).    See  Danks. 

SCHILGEN,  PniLirp  Anton,  painter,  born  at 
Osnaburgh  in  1793,  studied  at  Diisseldorf  under 
Cornelius,  with  whom  he  went  to  Munich  in  1825. 
He  executed  some  scenes  from  the  Tragedies  of 
jEschylus,  in  the  Palace,  after  drawings  by  Schwan- 
thaler.  In  the  Municn  New  Pinakothek  hangs  his 
'  Rape  of  Helen,'  painted  in  oil  after  a  cartoon  by 
Cornelius.     He  died  in  Munich  in  1857. 

SCHILLER,  Johann  Felix  von,  landscape 
painter,  born  at  Breslau  in  1805,  was  educated  for 
the  legal  profession,  but  afterwards  devoted  him- 
self to  art,  whicli  he  studied  at  Munich,  and  made 
the  beauties  of  the  Bavarian  highlands  his  theme. 
He  died  at  Munich  in  1852. 

SCHILLING,  Georg,  bom  at  Unterthingau,  in 
Suabia,  in  1785.  He  painted  ten  landscapes,  deal- 
ing with  scenes  in  Greek  life,  in  the  palace  at 
Munich.  They  are  after  drawings  in  water-colour 
by  Rottmann.  Schilling  died  at  Unterthingau  in 
1839. 

SCHILLING,  Hans,  a  German  illuminator  and 
calligraphist  of  the  15th  century,  known  by  a 
rhymed  paraphrase  of  the  Bible  in  50,000  verses, 
which  he  enriched  with  515  grotesquely  designed 
but  finely  coloured  miniatures.  He  was  a  native 
of  Hagenau. 

SCHILT,  Louis  PlEERE,  born  in  Paris,  Septem- 
ber 11,  1790,  was  one  of  the  most  celebrated  of  the 
painters  upon  Sevres  porcelain.  His  father  was  a 
vivandier  of  the  republican  army,  and  Schilt  was 
brought  up  entirely  by  his  mother,  who  appren- 
ticed him  at  the  age  of  fourteen  to  the  china- 
painter  Constant.  His  master  treated  him  kindly, 
putting  him  into  the  way  of  earning  small  sums 
for  himself  by  painting  on  common  pottery,  and 
eventually  he  passed  into  the  atelier  of  Lefevre. 
He  here  attracted  the  attention  of  the  painter  Paris, 
who  advised  him  to  devote  himself  entirely  to 
flower-painting,  and  in  accordance  with  this  counsel 
he  began  to  attend  Jussieu's  courses  at  the  Museum, 
with  the  result  that  he  became  an  accomplished 
botanist.  In  1822  he  obtained  employment  at  the 
royal  manufactory  at  Sevres,  and  worked  there 
with  equal  assiduity  and  success  until  his  death  in 
1859.  Nine  years  previously  he  had  been  made 
a  Knight  of  the  Legion  of  Honour  at  the  solicita- 

3;) 


A  BIOGRAPHICAL  DICTIONARY  OF 


tion  of  Paul  Delaroche.  He  published  the  follow- 
ing series  of  lithographs  :  '  The  Months,'  '  Flowers 
and  Fruit,'  '  The  Porcelain  Designer.' 

SCHIMON,  Ferdinand,  painter,  born  at  Pesth 
in  1797,  was  first  a  singer  and  actor,  and  then,  after 
studj'ing  art  at  Munich,  came  out  as  a  portrait 
painter.  He  worked  at  the  Loggie  of  the  Old  Pina- 
cothek  after  Cornelius'  designs.  Most  of  his  works 
are  in  the  Villa  Rosenstein,  near  Stiittgart.  He 
died  at  Munich  in  1852. 

SCHINDLER,  Albert,  born  at  Engelsherg,  in 
Silesia,  August  19,  1805,  studied  under  Fendi  at 
the  Vienna  Academy,  and  became  a  genre  painter 
of  much  merit.  His  '  Dying  Pilgrim '  is  in  the 
possession  of  the  Emperor  of  Austria.  He  died 
at  Vienna  in  1861. 

SCHINDLER,  Emil  Jakob,  German  painter; 
bom  at  Vienna,  April  27,  1842;  studied  at  the 
Vienna  Academy  under  Zimmermann,  his  fellow- 
pupils  being  Jettel,  Ribarz,  and  Russ.  His  work 
showed  the  influence  of  Corot,  Daubigny,  Dupr6, 
and  Rousseau  in  its  close  interpretations  of  nature, 
and  his  place  as  a  landscape-painter  ranks  with 
the  first.  Of  his  works  we  may  mention :  '  Abend 
ira  Prater,' '  Alpe  in  Steiermark,' '  Mondlandschaft,' 
'Thaldes  Friedens,' and  the  numerous  delightful 
illustrations  to  Zedlitz's  '  Waldfrauleins  Geburt.' 
He  was  a  member  of  the  Academies  of  Vienna 
and  Munich,  and  the  holder  of  several  distinguished 
decorations.  He  died  at  Westernland-am-Sylt, 
August  9,  1892. 

SCHINDLER,  Johann  Joseph,  painter,  born  at 
St.  Polten  in-  1777,  studied  at  the  Academy  at 
Vienna,  and  then  became  professor  of  drawing  at 
the  Normal  School  of  St.  Anna  in  that  city.  He 
painted  the  altar-piece  in  St.  Michael's  church  at 
Vienna,  and  also  engraved  several  plates.  He 
died  at  Vienna  in  1836. 

SCHINDLER,  Karl,  painter,  born  in  1822,  was 
a  pupil  of  Fendi.  He  died  at  Laab,  near  Vienna, 
in  1842. 

SCHINKEL,  Karl  Friedrich,  the  famous  Ger- 
man architect,  born  March  13, 1781,  at  Neuruppin, 
began  his  career  in  the  early  years  of  the  19th 
century,  as  a  painter.  He  had  been  trained 
in  the  Academy  of  Architecture  at  Berlin,  but 
time  and  circumstance  seemed  peculiarly  un- 
favourable to  the  art  in  which  he  was  afterwards 
to  achieve  distinction.  In  1803  he  travelled 
in  Italy,  painting  landscapes,  copying  historical 
pictures,  and  making  drawings  of  costumes,  and 
devoting  much  time  to  the  study  of  ancient 
monuments.  On  his  return  to  Germany  he  pro- 
duced a  number  of  landscapes  with  buildings, 
and  machines  such  as  a  '  Panorama  of  Palermo,' 
and  the  'Seven  Wonders  of  the  World.'  Later, 
when  his  fame  as  an  architect  was  established, 
he  furnished  designs  for  the  paintings  in  the 
vestibule  of  the  Berlin  Museum,  and  continued 
from  time  to  time  to  paint  landscapes  and  his- 
torical pictures,  and  projects  for  theatrical  scenery. 
He  published  a  few  lithographs  and  etchings,  and 
numberless  illustrations  to  books  on  architecture. 
He  died  at  Beriin,  October  9,  1841.  In  the 
National  Gallery  of  Berlin  there  are  seventeen  of 
his  pictures. 

SCHINNAGL,  Ma.'s:  Joseph,  born  at  Burghausen, 
in  Bavaria,  in  1694,  was  a  pupil  of  his  step-father, 
Joseph  Kammerloher.  He  painted  wild  scenery, 
with  figures  by  Janneck  and  Aigen.  The  galleries 
at  Vienna  and  Augsburg  possess  pictures  by  him. 
He  died  at  Vienna  in  1761. 
40 


SCHINZ,  Johann  Georq,  painter,  born  at  Zurich 
in  1794,  was  a  pupil  of  Gessner,  and  painted 
Swiss  landscapes.     He  died  in  1845. 

SCHINZ,  Johann  Kaspar,  born  at  Zurich  in 
1798,  painted  biblical  pictures.     He  died  in  1832. 

SCHIOPPI.     See  Alabardi. 

SCHIRMER,  Friedrich  Wilhelm,  landscape 
painter,  born  at  Berlin  in  1802,  was  apprenticed 
at  the  age  of  fifteen  to  the  Royal  Porcelain  Manu- 
factory, and  worked  at  the  same  time  in  the  Berlin 
Academy.  From  1823  he  devoted  himself  entirely 
to  art,  travelling  in  Germany  and  visiting  Italy.  In 
1839  he  was  appointed  teacher,  and  in  1840  pro- 
fessor, in  the  Berlin  Academy.  In  1845  he  revisited 
Italy,  and  in  1850  painted  the  walls  of  the  Egyptian 
and  Grecian  divisions  in  the  Berlin  New  Museum. 
In  1863  he  again  went  to  Italy,  though  he  was 
suffering  at  the  time  from  ill-health,  and  he  died 
at  Rome  in  1865.  Examples  of  his  work  are  to  be 
seen  in  the  National  Gallery,  Berlin. 

SCHIRMER,  G.,  a  native  of  Berlin,  born  in 
1804,  and  educated  at  the  local  Academy,  where 
afterwards  he  became  a  professor.  His  work  is 
mainly  in  decorative  materials  and  in  fresco,  the 
most  notable  being  the  decoration  in  the  castle  of 
Prince  Albert  of  Prussia,  and  in  the  New  Museum 
at  Berlin.  In  the  Berlin  National  Gallery  are  two 
pictures  by  him,  one  representing  Sorrento,  and 
the  other  Sans  Souci.     He  died  at  Berlin  in  1866. 

SCHIRMER,  Johann  Wilhelm,  landscape 
painter,  born  at  Jiilich  in  1807,  learned  drawing 
from  an  engineer,  and  became  a  bookbinder, 
which  was  the  trade  of  his  father.  In  1826  he 
became  a  student  in  the  Academy  at  Diisseldorf, 
and  attended  the  studio  of  Schadow.  In  1827  he 
founded  a  class,  out  of  which  a  new  school  of  land- 
scape painting  arose.  In  1834  he  began  to  travel, 
making  his  way  successively  through  the  Black 
Forest,  Switzerland,  Holland,  and  Normandy.     In 

1839  he  visited  Italy,  and  was  made  professor  at 
the  Diisseldorf  Academy.  In  1853  he  was  sum- 
moned to  direct  the  School  of  Art  at  Karlsruhe, 
and  there  he  died  in  1863.  The  following  pictures 
in  the  Berlin  Gallery  are  by  him  : 

Scene  iu  a  German  Forest. 

The  Convent  of  S.  Scholastica  in  the  Sabine  Mouutains, 

Abraham's  Entry  into  the  Promised  Land. 

The  Promise  in  the  Grove  of  Mamre. 

Abraham's  Intercession  tor  Sodom  and  Gomorrah. 

The  Flight  of  Lot. 

Hagar  cast  out. 

Hagar  in  the  "Wilderness. 

Hagar 's  Deliverance. 

Abraham  and  Isaac  going  to  the  Sacrifice. 

Offering  up  of  Isaac. 

Abraham  and  Isaac's  lamentation  for  Sarah. 

Eliezer  and  Rebekah  at  the  Well. 

Burial  of  Abraham. 

SCHISCHKIN,  Ivan,  Russian  painter  and  etcher; 
born  at  Jelabuga  (Wjatka),  January  13,  1831 ; 
became  a  pupil  of;  the  Moscow  Art  School  ;  in 
1863  he  won  the  first  prize  at  the  St.  Petersburg 
Academy,  and  three  years  later  he  was  enrolled 
as  a  member.  He  was  successful  as  a  painter  of 
sylvan  scenes,  but  as  a  draughtsman  he  won  wider 
fame.  Some  of  his  pen-drawings  were  successfully 
reproduced  by  a  Diisseldorf  firm  ;  all  of  them  deal 
with  woodland  scenery.  He  obtained  the  Stanis- 
laus Order  and  other  decorations.  He  died  at  St. 
Petersburg,  March  20,  1898. 

SCHITZ,  Jules,  landscape  painter,  born  in 
Paris,  February  9,  1817,  was  a  pupil  of  R^mont 
He    exhibited  frequently  at  the   Salon   between 

1840  and  the  time   of   his   death  in   1871.     He 


PAINTERS  AND  ENGRAVEKS. 


was  Director  of  the  Municipal  Drawing  School 
at  Troyes. 

SCHIVENOGLIA,  Lo.     See  Rainieri. 

SCHIZZONE, ,  an  Italian  painter  of  the  16th 

century,  the  friend  and  companion  of  Vincenzio 
di  S.  Gimignano.  His  career  was  cut  short  by  the 
troubles  of  1527,  for  after  the  sack  of  Rome  he 
appears  to  have  abandoned  art. 

SCHKUHRjChristian,  draughtsman  and  etcher, 
was  born  at  Pegau,  in  Saxony,  in  1741.  He 
devoted  himself  early  in  life  to  botany,  but  later 
added  mechanics  and  optics  to  his  pursuits,  and 
was  appointed  mechanician  to  the  Wittenberg 
University.  He  published  a  botanical  handbook, 
the  plates  for  which  he  designed  and  etched 
himself.     He  died  at  Wittenberg  in  1811. 

SCHLEICH,  Adrian,  German  engraver;  born 
December  7,  1812,  at  Munich,  where  he  studied 
under  S.  Amsler.  He  established  himself  at 
Munich,  and  worked  exclusively  at  steel-engraving ; 
his  plates  to  Schiller's  '  Glocke '  and  Kaulbach's 
'  Reinecke  Fuchs,'  and  his  reproductions  of  Schran- 
dolf's  frescoes  for  Speyer  Cathedral  are  well  known. 
He  died  at  Munich,  November  8,  1894. 

SCHLEICH,  August,  painter  and  etcher,  born 
at  Munich  in  1814,  principally  devoted  himself  to 
drawing  animals.     He  died  at  Munich  in  1865. 

SCHLEICH,  Eduard,  landscape  painter,  was 
born  at  Schloss  Haarbacli,  near  Landshut,  in  1812. 
He  was  a  pupil  of  the  Munich  Academy,  but  his 
real  teachers  were  the  Bavarian  mountains  and  the 
Old  Masters.  He  travelled  in  Upper  Italy,  France, 
and  the  Netherlands.  In  1868  he  was  elected 
Royal  Bavarian  Professor  at  Munich,  and  there  he 
died  in  1874. 

Berlin.  Nat.  Gall.     Evening  Landscape. 

Munich.    ]V.  Pinakothek.     Landscape— Isar  and  Bavarian 
Alps. 
„  A  OhaUt. 

SCHLEICH,  JoHANN  Karl,  engraver,  born  at 
Augsburg  in  1759,  learned  his  art  under  Jungwirth 
and  Mettenleiter.  He  engraved  portraits  of  many 
of  his  contemporaries,  some  topographical  plates, 
and '  Hope  nursing  Love,'  after  Reynolds.  He  died 
at  Munich  in  1842. 

SCHLEICH,  Karl,  engraver,  son  and  pupil  of 
Johann  Karl  Schleich,  was  born  at  Augsburg  in 
1788.     There  are  by  him : 

Peasant  Family ;  after  Potter. 

The  Cathedral  of  Eatisbon. 

A  View  of  Munich. 

Twelve  Landscapes;  after  Wagenbaur,  Dujardin,  and 
Ostade. 

He  died  at  Munich  in  1840. 

SCHLEISNER,  Christian  Andreas,  painter, 
was  born  at  Lyngby,  near  Copenhagen,  in  1810. 
His  early  education  was  obtained  at  the  Copen- 
hagen School  of  Art,  but  afterwards  he  studied 
for  a  time  in  Munich,  and  between  1840  and 
1842  was  a  travelling  student  of  the  Copenhagen 
Academy.  Of  this  institution  he  became  a  member 
in  1852,  and  a  professor  in  1858.  His  pictures 
belong  to  the  class  of  genre  ;  many  of  them  are 
comic.  His  death  took  place  at  Copenhagen  in 
1881.  Works: 
Copenhagen.      Gallery.    Sailors  in  a  Beershop. 

„  ,,  Tinker  in  his  'Workshop. 

Mtmich.  New  Pina- 1  The    Coppersmith      and     his 

kothek.    f     Family 

SCHLESINGER,  Adam,  painter,  bom  at  Eberts- 
heim,  in  Rhenish  Bavaria,  in  1759,  painted   fruits. 


In  the  National  Gallery,  Berlin,  are  two  examples 
of  his  art.     He  died  in  1829. 

SCHLESINGER,  Henri,  was  born  at  Frankfort 
in  1814,  studied  at  Vienna,  settled  in  Paris,  and 
became  a  naturalized  Frenchman  and  a  regular 
exhibitor  at  the  Salons  (1840-89),  where  his  por- 
traits and  genre  subjects  were  well  known.  He 
gained  medals,  of  the  third  class  in  1840,  and  of 
the  second  class  in  1847,  and  in  1866  was  admitted 
to  the  Legion  of  Honour.  His  portrait  of  the 
Sultan  Malimoud  II.  hangs  at  Versailles.  Among 
his  works  may  be  mentioned,  '  Double  Arret,' 
'Les  Amours  d'autrefois  et  ceux  d'aujourd'hui,' 
'Jeune  Fille  du  Maroc,'  and  'Cadeaux  de  Noel.' 
He  died  in  1893. 

SCHLESINGER,  Jakob,  painter,  born  at  Grun- 
stadt  in  1793,  learned  the  first  principles  of  art 
from  his  father,  Johann  Schlesinger,  and  afterwards 
studied  in  Mannheim  and  Munich.  The  brothers 
Boisseree  employed  him  in  restoring  old  pictures. 
In  1822  he  was  appointed  professor  at  Berlin. 
The  Sistine  Madonna  of  Raphael,  Titian's  daugh- 
ter, and  other  well-known  pictures  were  copied  by 
him.  He  also  painted  portraits,  and  fruit  and 
flower  pieces.  He  died  at  Berlin  in  1855.  There 
is  a  tracing  by  him  from  the  Sistine  Madonna  in 
the  London  National  Gallery. 

SCHLEY,  Van  der.     See  Van  der  Schlet. 

SCHLICHT,  Abel.  This  artist  was  born  at 
Mannheim  in  1754.  He  engraved  several  plates 
in  aquatint,  which  are  favourably  mentioned  by 
Huber.  He  was  a  painter  and  architect  as  well 
as  an  engraver  ;  he  studied  perspective  under  L. 
Quaglia,  and  was  a  professor  in  the  Academy  of 
Diisseldorf.  He  died  in  1826.  Among  his  plates 
we  may  name : 

A  Storm  and  Shipwreck  ;  after  T'ernet. 

A  Calm  ;  after  the  same. 

A  Landscape,  with  cattle  ;  after  A.  Vandevelde. 

A  Landscape,  with  figures  and  animals  ;  after  Berghem. 

A  Landscape  ;  after  Py  naker. 

Several   architectural  Views ;  after  Biliena,  Pannini, 
and  others. 

SCHLICHTEN,  J.  P.  van  der.  See  Van  der 
Sohlichten. 

SCHLOEPKE,  Theodor,  painter,  first  made 
his  name  by  painting  genre  and  horse  pictures,  and 
portraits.  For  the  Duke  of  Mecklenburgh  he 
painted  a  series  of  scenes  of  the  Schleswig-Holstein 
war.  Between  1855  to  1857  he  painted  at  Paris, 
under  the  auspices  of  H.  Vernet,  his  one  great  his- 
torical picture,  the  '  Death  of  Niclot.'  He  died  at 
Schwerin  in  1878. 

SCHLOSSER,  Leopold,  landscape  painter,  was 
a  native  of  Berlin.  He  painted  a  large  landscape 
with  two  wolves  in  the  foreground,  which  showed 
considerable  talent.    He  died  at  Diisseldorf  in  1836. 

SCHLOTTERBECK,  Christian  Jakob,  a  painter 
and  engraver,  but  chiefly  the  latter,  was  born  at 
Boblingen,  in  WUrtemberg,  in  1755.  He  was  the 
son  of  a  stone-cutter,  and  first  studied  medicine, 
which  he  afterwards  abandoned  for  art.  He 
entered  the  Karlsacademie  at  Wiirtemberg  in 
1774,  and  studied  engraving  under  J.  Y.  Miiller. 
In  1785  he  was  appointed  court  engraver.  He 
painted  Duke  Charles  and  King  Friedrich  of 
Wiirtemberg,  and  engraved  a  number  of  por- 
traits, among  which  are  those  of  Sclmbart,  Harper, 
Guibal,  etc.  Of  his  other  plates,  the  principal  are, 
'  Titian's  Mistress,'  after  the  picture  once  in  the  Or- 
leans collection,  '  Herodias  with  the  head  of  John 
the  Baptist,'  the  '  Laocoon,'  and   busts  of  Castor 

41 


A  BIOGRAPHICAL   DICTIONARY  OF 


and  Pollux,  Miaerva,  Mercury,  and  Diana,  from 
the  antiijue,  also  some  frontispieces  and  vignettes. 
He  died  about  1812. 

SCHLOTTERBECK,  Wilhelm  FRiEDRicn,  a 
draughtsman  and  engraver,  born  in  1777  at  Hart- 
ingen  in  Switzerland,  was  a  scholar  of  C.  von  Mechel 
of  Basle.  He  had  a  great  predilection  for  aquatint, 
and  it  may  be  said  that  liia  success  made  that  art 
popular  in  Germany.  He  engraved  many  large 
plates  after  Claude,  Both,  P.  Hackert,  and  his  own 
drawings.  He  joined  the  Chalcographio  Institution 
at  Dessau  in  1798,  where  he  engraved  the  four  line 
landscapes  by  Claude  Lorraine,  then  at  Cassel, 
but  now  in  the  Hermitage  at  St.  Petersburg  ;  and 
in  1801  he  went  to  reside  at  Vienna.  From  1808 
till  the  time  of  his  death  he  was  occupied  in 
making  drawings  of  the  picturesque  scenery  in  the 
Tyrol,  at  Salzburg,  and  in  various  other  parts  of 
Germany  and  Hungary,  which  he  engraved  for 
Mollo,  the  Viennese  publisher.  He  died  at  Vienna 
in  1819. 

SCHLOTTHAUER,  Joseph,  painter,  born  at 
Munich  in  1789,  was  first  a  carpenter,  though  he 
devoted  his  leisure  hours  to  drawing.  Having 
finished  several  preparatory  works,  he  was  received 
as  a  pupil  of  the  Academy,  but  a  few  months  after 
the  War  of  Deliverance  in  the  Tyrol  broke  out,  and 
Schlottliauer  enlisted  in  a  corps  of  volunteer  sharp- 
shooters. When  the  war  was  over  he  returned 
to  liis  art,  and  attached  himself  in  1819  to  Cor- 
nelius, who  had  come  to  Munich  to  commence  the 
frescoes  of  the  Glyptothek,  painting  several  of 
the  frescoes  from  Cornelius'  Cartoons.  In  1838  he 
painted  the  side-altars  in  Bamberg  Cathedral,  and 
about  this  time  his  mechanical  and  anatomical 
studies  led  him  to  put  forward  a  new  method  of 
orthopocdio  treatment,  for  the  purposes  of  wliich 
he  started  an  institution,  of  which  he  was  for  many 
years  the  manager.  In  1845  he  went  to  Pompeii 
to  make  researches  into  ancient  methods  of  painting, 
and  in  the  following  year  he  invented  jointly  with 
Fuchs  the  kind  of  fresco  painting  known  as  stereo- 
chromy.  It  was  used  by  Kaulbach  in  his  frescoes 
for  the  Berlin  Museum.  His  '  Christ  crowned  with 
Thorns  '  is  Iiis  best  known  easel-picture.  He  was 
further  the  author  of  a  set  of  fifty-three  lithograph 
plates  after  Holbein's  'Dance  of  Death'  (1832). 
Among  his  pupils  were  Count  Pocci,  E.  Linder, 
J.  Sehraudolph,  and  J.  A.  Fischer.  He  died  at 
Munich  in  1869. 

SCHLOTTHAUER,  Karl,  painter,  was  born  at 
Munich  in  1803.  He  was  the  pupil  of  his  uncle, 
Joseph  Schlotthauer,and  painted  landscapes, chiefl 3- 
from  the  Bavarian  Alps.  He  was  a  professor  in 
the  Art  School  of  Lindau. 

SCHMALZIGANG,  Ferdinand, German  painter; 
bom  February  15,  18i7,  at  Fried richshafen  on  the 
Bodensee ;  became  a  pupil  of  Piloty  at  Munich. 
He  painted  animals,  and  one  of  his  works  is  in  the 
Cologne  IMuseum.     He  died  1902. 

SCHMEIDLEli,  Karl  Gottlob,  portrait  painter, 
bom  at  Nimptsch  in  1772,  first  studied  theology, 
but  became  a  painter  from  want  of  means.  After 
studying  in  the  Academy  at  Dresden,  he  settled 
at  Breslau,  and  painted  portraits,  among  which 
were  those  of  General  Bennigsen  and  his  wife,  and 
of  some  members  of  the  Prussian  Royal  Family. 
He  died  at  Breslau  in  1838. 

SCHMELLER,  Johann  Joseph,  a  painter,  born 
at  Gross-Obringen,  near  Weimar,  in  1796,  was  a 
pupil  of  Jagemann.  The  Grand  Duke  sent  him 
to  Antwerp,  in  1820,  to  study  under  Van  Br^e, 

42 


and  on  his  return  he  became  master  of  the  Drawing 
School  at  Weimar.  He  painted  two  portraits  of 
Goethe,  and  was  further  commissioned  by  the  poet 
to  make  an  album  of  portrait  sketches  in  chalk  of 
distinguished  persons  and  friends,  which  work  is 
still  in  the  possession  of  Goethe's  family.  He  died 
at  Wiemar  in  1841. 

SCHMERLING,  Pauline  von,  flower-painter, 
was  born  at  Vieima  in  1806.  Her  father  was  a 
Freiherr  J.  von  Koudelka  in  the  Austrian  army, 
and  she  was  a  pupil  of  Franz  Better.  In  the 
Vienna  Gallery  there  is  an  excellent  flower-piece 
by  her.     She  died  at  Vienna  in  1840. 

SCHMETTEKLING,  Josef  Adolf,  was  born  at 
Vienna  in  1758.  He  painted  miniatures  with  some 
success.  He  established  himself  in  Amsterdam, 
where  he  died  in  1828.  His  daughter,  Christiana, 
was  a  painter  of  flowers  and  fruit,  in  water-colour. 
She  was  born  at  Amsterdam  in  1796.  and  died 
there  in  1840.  Another  daughter,  Elizabeth,  who 
followed  her  father's  profession  of  miniaturist,  was 
established  in  Amsterdam  in  1804. 

SCHMID,  Karl  Adgust,  painter,  born  at  Neu- 
burgin  1807,  studied  at  the  Munich  Academy  from 
1822  to  1825,  and  then  turned  to  out-door  Nature. 
He  made  drawings  for  works  on  natural  history 
and  botanj-.  He  travelled  through  the  Tyrol,  Salz- 
burg, and  Upper  Ital}-,  and  in  1831  produced  a 
series  of  water-colour  landscapes,  illustrating  his 
travels.     He  died  in  1834. 

SCHMID,  Peter,  painter,  born  at  Treves  in  1769, 
displayed  talent  for  art  as  a  boy,  and  was  instructed 
in  painting  through  the  help  of  Count  von  Walters- 
dorf.  He  taught  in  Stettin,  Berlin,  and  Frankfort 
on  a  new  system,  laying  great  stress  on  a  study  of 
nature,  and  published  several  books  of  instruction 
embodying  his  theories.  In  1834  he  became  pro- 
fessor of  drawing  at  Berlin. 

SCHMID,  Simon,  born  at  Munich  in  1760,  was 
Court  chaplain,  and  claims  mention  as  one  of  the 
inventors  of  lithography.  The  first  essays  in 
Kellheim  stone  were  made  by  him.  In  1788  he 
published  eighteen  lithographs,  some  in  relief, 
some  in  intaglio.     He  died  at  Munich  in  1840. 

SCHMIDT,  Eduard,  painter,  a  native  of  Berlin, 
was  a  pupil  of  Blechen,  and  painted  chiefly  sea- 
pieces,  from  the  coasts  of  Heligoland,  England, 
and  Sweden.     He  died  in  1862. 

SCHMIDT,  Georg  Friedrich,  born  at  Berlin  in 
1712,  was  instructed  in  design  and  engraving  by 
G.  P.  Busch,  at  the  Berlin  Academy  ;  but  he  after- 
wards went  to  Paris,  where  he  became  a  pupil  of 
Nicholas  Larmessins.  In  1742  he  was  received 
into  the  Paris  Academy,  and  engraved,  for  his  re- 
ception plate,  his  fine  portrait  of  P.  Mignard.  In 
1744  he  returned  to  Berlin,  and  was  soon  afterwards 
appointed  engraver  to  the  King.  He  resided  at 
Berlin  till  1757,  when  he  was  invited  to  St.  Peters- 
burg by  the  Empress  Elizabeth,  and  commissioned 
to  organize  a  school  of  engraving,  and  to  engrave 
the  Emperor's  portrait.  He  returned  to  Berlin  in 
1762,  and  etched  a  few  plates  in  the  manner  of 
Rembrandt.  He  died  at  Berlin  in  1775.  The 
following  is  a  list  of  his  better  plates;  he  engraved 
about  200  in  all. 

Tlie  Empress  Elizabeth  of  Russia  ;  after  L.  Tocqui. 

Michael,  Count  de  Woronzow ;  after  the  same. 

Count  Nicholas  Esterhazi ;  after  the  same. 

Fred.  Hen.  Louis,  Prince  of  Prussia  ;  after  A.  Vanloo. 

Jean  Paul  Bignon,  Abbe  de  St.  Quentin  ;  after  Higaud. 

Constantine  Scarlati,  Prince  of  Moldavia. 

Ch.  Gabriel  de  Caylus,  Bishop  of  Auxerre ;  after  Fontaine. 


PAINTERS  AND  ENGRAVERS. 


Louis  de  la  Tour  d'Auvergne,  Count  d'Evreux ;  after 

Eiaaud. 
Ch.  de  St.  Albin,  Archbishop  of  Cambray ;  after  the  same. 
Pierre  Mignard  ;  after  the  same. 
Antoine  Pesne  ;  after  a  picture  by  himself. 
Maurice  Quentin  de  !a  Tour ;  after  the  same. 
The  Virgin  and  Child,  with  St.  John  ;  aftei-  Vandyck. 
The  Presentation  in  the  Temple  ;  after  Pietro  Testa. 
Alexander  and  liis  Physician  ;  after  Ann.  Carracci. 
A  Bust  of  the  Virgin  ;  after  Sassoferrato. 
Dutch  Boors  regaling;  after  A.  Ostade. 

ETCHINGS  IN  THE  STYLE  OF  EEMBRANDT. 

His  own  Portrait,  drawing. 

The  Portrait  of  Eembrandt ;  after  a  picture  hy  himself. 

The  Raising  of  Jairus's  Daughter  ;  after  Eemhrandt, 

The  Presentation  in  the  Temple ;  after  Dietricy. 

Lot  and  his  Daughters  ;   after  Reuihrandt. 

The  Mother  of  Eembrandt ;  after  the  same. 

SCHMIDT,  Heinrich,  painter,  born  at  Saar- 
briick  in  1740  (1760),  painted  historical  works, 
portraits,  and  landscapes.  He  lived  chiefly  at 
Naples,  and  was  painter  to  the  court  of  Hesse 
Darmstadt,  and  died  in  1818. 

SCHMIDT,  Heinrich  Friedrich  Thomas,  painter 
and  engraver,  born  at  Berlin  in  1780.  He  practised 
first  at  Leipsic,  and  afterwards  at  Weimar.  There 
are  portraits  by  him  of  Wieland,  Gall,  Schiller, 
Kant,  and  the  Czar,  Alexander  I. 

SCHMIDT,  IsAAK,  born  at  Amsterdam  in  1740, 
received  his  first  lessons  in  painting  from  Jan  Van 
Huysura,  and  subsequently  became  a  scholar  of  J. 
M.  Quinkhardt,  with  whom  he  remained  six  years. 
After  some  attempts  at  portrait  painting,  in  which 
he  did  not  succeed  to  his  wishes,  he  applied  himself 
to  landscape,  and  painted  several  good  pictures  in 
concert  with  Juriaan  Andriessen.  His  pictures  are 
not  numerous,  as  he  devoted  much  of  his  time  to 
teaching,  and  to  poetry  and  music.  He  wrote 
some  comedies,  and  translated  a  '  Life  of  Rubens.' 
He  was  one  of  the  founders  of  the  drawing  academy 
at  Amsterdam  in  1759,  and  continued  to  be  a 
director  till  the  time  of  his  death,  which  occurred 
in  1818.  His  son  Isaak  practised  portrait  painting 
for  a  time,  but  eventually  became  a  professor  in  the 
School  of  Artillery  and  Engineering  at  Delft.  He 
died  in  1826. 

SCHMIDT,  JoHANN  Gottfried,  engraver,  born 
at  Dresden  in  1764,  .studied  under  Rasp,  and  pro- 
duced many  good  engravings,  among  them  a  series 
of  fift}'  portraits  of  theologians. 

SCHMIDT,  Johann  Heinrich,  painter,  was  born 
at  Hildburghausen  in  1749.  He  studied  at  Leipsic, 
and  travelled  through  France  and  Italy,  where  he 
made  a  name  by  portraits  in  oil  and  pastel.  In 
1775  he  went  to  Dresden  as  court  painter,  and  in 
1791  painted  a  'Council  of  Princes  at  Pillnitz.' 
He  executed  pastel  portraits  of  Suwarrow,  Nelson, 
the  Archduke  Charles,  Napoleon,  &c.,  and  one  of 
the  Princess  Augusta  of  Saxony,  now  in  the  Dresden 
Gallery.     He  died  at  Dresden  in  1829. 

SCHMIDT,  Martin  Jo.achim,  painter  and  en- 
graver, was  born  at  Grafenworth,  near  Krems,  in 
1718.  He  etched  a  number  of  altar-pieces  and 
mythological  subjects,  in  the  manner  of  Rembrandt 
and  Castiglione.  He  died  in  Krems  in  1801.  There 
are  some  examples  of  his  work  in  the  Vienna 
Academy. 

SCHMIDT,  Mathias,  painter  and  engraver,  bom 
at  Mannheim  in  1749,  painted  landscapes,  and  copied 
the  etchings  of  Karel  Dujardin,  Adriaan  van  de 
Velde,  Jan  Fyt,  &e.  He  also  etched  a  number 
of  plates  after  original  drawings  by  Ferdinand 
Kobell  and  Rembrandt.   He  died  at  Munich  in  1823. 


SCHMIDT,  Maximilian,  German  painter ;  born 
August  23,  1818,  at  Berlin  ;  studied  at  the  Berlin 
Academy  and  also  with  Begas,  Karl  Kriiger,  and 
W.  Schirmer.  He  travelled  in  Turkey,  Palestine, 
Egypt,  the  Ionian  Islands,  Italj-,  and  England, 
from  1861  to  1870.  In  1868  he  was  appointed 
Professor  at  the  Weimar  Art  School.  In  1872  he 
taught  at  the  Kdnigsberg  Academy,  of  which  later 
on  he  was  made  Director.  He  painted  landscapes 
and  architectural  subjects.  Works  by  him  are  to 
be  seen  at  the  Galleries  of  Berlin,  Danzig,  Cologue, 
Konigsberg,  Munich,  Rostock,  &c.  He  also 
executed  frescoes.  He  obtained  medals  at  Vienna 
and  at  Berlin  ;  was  the  recipient  of  various  Order.^. 
He  died  1902. 

SCHMIDT,  Ole  JtJRGEN,  draughtsman  and  archi- 
tect, was  born  at  Copenhagen,  July  13,  1793. 
He  studied  for  three  years  at  the  Copenhagen 
Academy,  winning  various  honours,  and  then  went 
to  Italy,  where  he  devoted  himself  to  investiga- 
tions at  Pompeii  and  Herculaneum,  and  in  1830  he 
published  a  number  of  outline  drawings  of  the 
antique  frescoes,  and  sketches  of  arabesques,  orna- 
ments, &c.  which  had  been  brought  to  light  in 
the  buried  cities.  He  died  at  Hamburg,  February 
27,  1848. 

SCHMIDT,  WiLLEM  Hendrik,  painter,  was 
born  at  Amsterdam  in  1819.  At  first  he  combined 
the  study  of  art  with  his  father's  trade  of  mattress- 
making,  but  a  tour  through  Germany  in  1840  con- 
tributed largely  to  his  improvement.  In  1842  he 
was  professor  in  the  Delft  Academy.  The  Museum 
at  Cologne  and  the  Munich  New  Pinakothek  possess 
examples  of  liia  art.     He  died  in  1849. 

SCHMITHS,  Heinrich  N.,  (Schmitz,)  engraver, 
born  at  Kaiserswiirth,  near  Diisseldorf,  in  1758. 
His  father  was  a  fisherman,  but  J.  L.  Krahe  took 
him  up  and  introduced  him  to  art.  He  learned 
copper  engraving  in  Paris  under  Wille.  He  died  at 
Diisseldorf  in  1790.     Of  his  plates  we  may  name : 

A  group  of  Children  ;  after  Eutens. 

Our  Lord  and  St.  John  ;  afta-  Scarsellino. 

Christ  and  the  Magdaleue  ;  after  Baroccio. 

SCHMITSON,  Tehtwart,  born  at  Frankfort  in 
1830,  a  self-taught  artist,  was  the  son  of  an  Austrian 
officer.  He  painted  his  first  large  picture  in  DLis- 
scldorf.  Thence  he  went  successively  to  Carls- 
ruhe,  Berlin,  Italy,  and  Vienna.  He  was  fond  of 
animals,  and  often  painted  them.  He  etched  one 
plate,  '  The  Return  of  Venus  to  Paphos.'  He  died 
at  Vienna  in  1863. 

SCHMUTZ,  J.  Johann  Rudolph,  a  Swiss  painter, 
born  at  Regeusperg,  in  the  canton  of  Zurich,  in  1670. 
He  was  a  scholar  of  Mathias  Fuessli,  and  at  first 
applied  himself  to  the  study  of  historical  painting, 
but  failing  in  this  he  turned  his  thoughts  to  por- 
traiture, to  which  his  genius  was  better  adapted. 
He  visited  England  at  a  period  when  Sir  Godfrey 
Kneller  was  in  the  zenith  of  his  reputation,  and 
imitated  his  style.     He  died  in  London  in  1715. 

SCHMUTZBR,  Jakob  Matthias,  the  son  of 
Andreas  Schmutzer,  was  born  at  Vienna  in  1733. 
After  learning  the  rudiments  of  design  in  his  native 
city  under  Donner,  he  went  to  Paris,  where  he 
studied  under  J.  G.  Wille.  On  his  return  to  Vienna 
he  was  appointed  director  of  the  Academy  estab- 
lished by  the  Empress,  .Maria  Theresa.  He  died 
at  Vienna  in  1811.  Among  his  plates  are  the 
following : 

Mutius  .Sctevola  before  Porsenna ;  after  Ruhens. 
St.  Gregory  repulsing  Theotlosius  ;  after  the  same. 

43 


A  BIOGRAPHICAL  DICTIONARY  OF 


Venus  rising  from  the  Sea ;  after  the  same. 

Neptune  and  Thetis ;  after  the  same. 

AVolf  Hunt ;  after  Snyders. 

Portraits  of  Prince  Kaunitz  ;  after  Tocgue,  Steiner,  and 

Hagenauer. 
The  Empress  Maria  Theresa  ;  after  Du  Creux. 
{A  nd  several  other  Imperial  portraits.) 

SCHIIUTZER,  JoHANN  Adam,  the  eldest  son  of 
Jakob  Mattbias  Schmutzer,  born  about  1700  at 
Vienna,  and  died  in  1739,  was  an  engraver  of  little 
ability. 

SCHMUTZER,  Joseph  and  Andreas,  brothers 
of  the  foregoing,  were  natives  of  Vienna.  They 
are  here  included  in  one  article,  as  they  generally 
worked  jointly  on  the  same  plate,  signing  it  Jos- 
And.  or  And.  Jos.,  as  one  or  the  other  had  done 
most  of  it.  Andreas  died  at  Vienna  in  1741,  and 
Joseph  in  1740.  We  have,  among  twenty-five 
given  by  Nagler,  the  following  plates  by  them: 

The  Emperor  Cliarles  VI. ;  after  3Uytens. 
The  Empress  Elizabeth  Christian;  after  Auerhach. 
Questenberg ;  after  i^eyhold. 

Two  Views  of  a  Temple  ;  after  G.  Galli  Bihiena. 
Three  subjects  from  the  History  of  Decius ;  after  the 
pictures  by  Rubens  in  the  Liechtenstein  Gallery. 

SCHMUTZER,  Jtdseh'H,  a  painter,  born  at  Vienna 
in  1806,  was  a  pupil  of  the  Academy  and  an  ex- 
cellent lithographer  after  the  works  of  the  old 
German  masters.     He  died  in  1837. 

SCHNAPHAN,  Abraham,  painter,  born  at  Leyden 
in  1651,  painted  portraits  and  figure  subjects  in 
the  style  of  Mieris,  but  his  works  are  only  to  be 
seen  in  the  collections  of  the  Anhalt-Dessau  family, 
to  which  he  was  painter.     He  died  in  1691. 

SCHNATZLER,  JoHANN  Ulrich,  portrait  painter, 
was  born  at  Schaffhausen  in  1704.  He  was  a 
painter  of  some  talent,  and  also  practised  sculpture, 
but  his  life  was  spoilt  by  intemperance.  He  died 
in  176.3. 

SCHNEBBELIE,  Jacob  C,  born  in  London  in 
1760,  acquiring  some  knowledge  of  drawing  under 
Paul  Sandby,  left  his  business  as  a  confectioner, 
and  commenced  teaching  drawing.  He  was 
appointed  draughtsman  to  the  Society  of  Anti- 
quaries, and  made  drawings  for  the  '  Gentleman's 
Magazine'  and  '  Morris's  Monastic  Remains.'  He 
was  chiefly  employed  on  antiquarian  and  topogra- 
phical subjects,  which  he  drew  and  etched,  or 
aqua-tinted.  He  died  in  London  in  1792.  His 
son,  Egbert  Bremmel  Schnebbelie,  was  engaged 
in  drawing  for  the  '  Gentleman's  Magazine '  and 
other  periodicals.  He  was  found  in  his  room  dead, 
apparently  from  want,  about  1849. 

SCHNEIDER,  Joha.N'n  Kasfar,  painter,  bom  at 
Mayence  in  1753,  was  a  pupil  of  HeidelofE,  and 
painted  altar-pieces,  landscapes,  and  portraits.  In 
the  New  Pinakothek  at  Munich  there  is  a  landscape 
by  him.     He  died  in  1839. 

SCHNEIDER,  N.  N.,  painter,  was  born  in 
Brabant  in  the  first  half  of  the  18th  century.  In 
1753  he  was  a  member  of  the  Piciura  Society, 
at  the  Hague,  but  after\vards  migrated  thence  to 
Amsterdam.  He  painted  landscapes  with  birds 
and  game. 

SCHNELL,  Feiedrioh,  engraver,  born  at  Darm- 
stadt in  1790,  a  pupil  of  Haldenwang,  has  left  an 
engraving  of  Strassburg  Cathedral,  after  a  drawing 
by  August  von  Bayer,  which  displays  great  care 
and  attention  to  detail.     He  died  in  1834. 

SCHNELL,  JoHANN,  a  portrait  painter  of  Basle, 
who  visited  England  about  1720,  and  died  at 
Bristol. 

44 


SCHNELLBOTZ,  Gabriel,  (Schnellboltz, 
ScHNELLUOLTZ,)  engraver,  is  said  by  some  to 
have  been  born  at  Jlerseburg,  by  others  at  Wit- 
tenberg, in  1636.  It  appears  that,  in  addition 
to  his  practice  as  a  designer  and  engraver,  he 
carried  on  the  business  of  a  printer  and  bookseller 
at  Wittenberg,  and  published  several  works  there 
in  1562  .and  1563.  The  mark  S  on  a  perpendicular 
arrow  is  the  rehus  of  his  name. 

SCHNETZ,  Jean  Victor,  painter,  born  at  Ver- 
sailles in  1787,  studied  under  David,  Regnault, 
Gros,  and  Gerard,  and,  in  1810,  exhibited  his  '  Death 
of  Colbert.'  In  1825  he  went  to  Italy,  and  by  his 
study  there  improved  greatly  in  style  and  colouring, 
as  may  be  seen  by  the  pictures  he  painted  about 
that  time.  The  'Battle  of  Ascalon'was  the  best 
of  these.  On  his  return  from  Italy  he  painted  for 
several  Parisian  churches,  among  which  were  Notre 
Dame  de  Lorette  and  St.  Severin.  In  1840  he 
became  director  of  the  French  Academy  at  Rome ; 
but  from  1847  to  1852  he  resided  in  Paris,  but  went 
to  Rome  again,  returning  in  1866  to  Paris,  and  dying 
there  in  1870.     Works : 

Cond4  at  the  Battle  of  Senef .     ( Versailles) 

Cond6  at  Rocroi.     {Do.) 

The  Battle  of  Ascalon.     (Do.) 

Several  portraits.     {Do.) 

Esther  and  Mordecai.    {Arras.) 

Funeral  in  the  P.oman  Catacombs.     {Nantes.) 

Ceiling  of  the  '  Septieme  Salle,'  in  the  Louvre. 

SCHNITZER,  JoHX,  an  early  engraver  on  wood, 
who  flourished  about  the  year  1486.  He  executed 
the  cuts  for  the  edition  of  Ptolemy  published  at 
Ulm  in  the  above  year.  The  Map  of  the  World 
is  ornamented  with  ten  heads,  representing  the 
winds,  rudelj'  cut.  It  is  inscribed,  Itisculptum  est 
jier  Johannem  Schnitzer  de  A7iisheini. 

SCHNITZLER,  J.  Michael,  painter,  born  at 
Neuburg  in  1785,  the  son  of  a  painter,  settled  at 
Augsburg  when  he  was  eighteen  years  old,  and 
worked  at  the  Academy.  He  afterwards  went  to 
Stuttgart,  Ulm,  and  Munich,  where  he  worked  as  a 
scene-painter  at  the  theatre.  He  painted  animals  in 
the  style  of  Hondekoeter.  He  died  at  Munich  in 
1862.     Works : 

Berlin.        Xat.  Galleri/.     Partridges  on  a  Table. 
Munich.  JS'ew  Pinakothek.     Hawk  killing  a  Dove. 

„  „  Three  pictures  of  Dead  'Wild- 

fowl. 

SCHNIZER,  JosErn  von,  painter,  born  at  Wein- 
garten,  near  Ravensburg,  in  1792,  was  the  son  of 
an  Austrian  Colonel,  and  studied  at  the  Munich 
Academy.  In  1812  he  was  obliged  to  enter  the 
army,  but  after  serving  through  the  campaigns  of 
1813,  '14,  and  '15,  he  again  took  to  art.  He  painted 
several  military  pictures  for  the  King  of  Wurtein- 
berg,  among  wliich  were  the  '  Storming  of  Sens ' 
and  the  '  Battle  of  Montereau.'  He  died  at  Stutt- 
gart in  1870. 

SCHNORR  VON  KAEOLSFELD,  Joh.\nn  (or 
Hans)  Veit,  painter,  born  at  Schneeberg,  in  the 
Erzgebirge,  in  1764,  was  intended  for  the  law,  and 
studied  jurisprudence  till  he  was  twenty-five,  when 
he  entered  the  art  school  of  Oeser  at  Leipsic.  On 
the  death  of  his  father  he  gave  himself  up  entirely 
to  art,  and  settled  at  KOnigsberg.  In  1802  he  paid 
visits  to  Paris  and  Vienna,  and  in  1803  was  ap- 
pointed teacher  of  drawing  in  the  Academy  at 
Leipsic,  and  in  1816  director  and  professor.  He 
died  at  Leipsic  in  1841. 

SCHNORR  VON  KAROLSFELD,  Julius  (Veit 
Hans),  historical  painter,  born  at  Leipsic  in  1794, 


PAINTERS  AND  ENGRAVERS. 


first  studied  under  his  father,  Hnns  Veit  Schnorr, 
but  in  1811  went  to  the  Academy  at  Vienna,  and 
in  1817  to  Italy.  He  associated  in  Florence  with 
Eumohr,  proceeding  afterwards  to  Rome,  where  he 
joined  Cornelius,  Overbeck,  Veit,  and  Koch,  and 
fonned  one  of  the  great  German  colony  then  in  the 
Eternal  City.  On  Cornelius's  recommendation  he 
was  commissioned  to  paint  scenes  from  Ariosto,  in 
fresco,  in  the  Villa  Massimi.  In  1825  he  was  in- 
vited to  Munich,  but  before  returning  to  Germany 
he  visited  Sicily.  In  1827  he  went  to  Munich, 
where  he  became  professor  in  the  Academy,  and 
decorated  the  '  Konigsbau  '  with  scenes  from  the 
'  Niebelungen  Lied.'  In  1835  be  accepted  a  com- 
mission to  paint  scenes  from  the  history  of  CbarJe- 
magne,  Barbarossa,  and  Rudolf  of  Hapsburg  in 
the  so-called  '  Saalbau.'  In  1846  he  obeyed  a 
summons  to  become  professor  of  the  Dresden 
Academy  and  director  of  the  Picture  Gallery, 
which  posts  he  retained  till  1871,  when  he  was 
obliged  to  resign  on  account  of  ill  health  and  loss 
of  sight.  In  1851  he  visited  London,  and  entered 
into  an  agreement  with  De  Bunsen  for  an  illus- 
trated Bible,  which  came  out  at  Leipsic  in  parts. 
He  made  cartoons  for  some  of  the  windows  in  St. 
Paul's.  He  died  at  Dresden  in  1872.  Besides  the 
works  above  noted  we  may  name : 

Berlin.        Nat.  Gallery.     Siegfried  returning  from    the 

Saxon  War.     {Cartoon.) 
„  „  Laying  out  the  dead  in  Etzel's 

Palace.     (Do.) 
Dresden.  Gallery.    Visit    o£     Ananias    to     Paul. 

(Cartoon     for     St.      Paul's, 

Loudon.) 
„  „  Visit  of  Zacharias,  Elizabeth, 

and    St.  John   to  the  Holy 

Family. 
Munich.        Pinakothek.    Hagen  and  Daukwart  refuse  to 

greet  Chrimhild. 

SCHNORR  VON  KAROLSFELD,  Ludwiq  Fer- 
dinand, painter,  born  at  Leipsic  in  1789,  was  the 
brother  of  Julius  Schnorr,  and  received,  like  him, 
his  first  instruction  from  their  father,  Hans  Veit 
Schnorr.  In  1804  he  went  to  Vienna,  and  at- 
tended the  Academy,  where  he  followed  the  style 
of  Fliger,  and  made  his  reputation  by  a  scene  from 
Goethe's  '  Faust,'  now  in  the  Belvedere  at  Vienna. 
He  was  appointed  custodian  of  the  Belvedere,  in 
Vienna,  where  he  died  in  1853.  He  etched  a  few 
plates. 

SCHOBELT,  Paul,  German  painter ;  born 
March  9,  1838,  at  Magdeburg  ;  studied  first  at  the 
Academies  of  Diisseldorf,  Berlin,  and  Paris,  and 
subsequently  in  Paris  with  Gleyre ;  he  received  a 
sum  of  money  from  the  Prussian  Government  to 
enable  him  to  study  in  Italy,  and  he  then  settled 
at  Breslau,  where  he  held  the  post  of  Art  Professor. 
His  '  Venus  and  Bellona '  is  in  the  Berlin  National 
Gallery,  and  his  'Rape  of  Proserpine'  and  '  Triumph 
of  Genius '  are  well  known.  The  Festival  Room 
of  the  Cultusministerium  contains  work  by  him. 
He  died  at  Breslau,  May  2,  1893. 

SCHOdLBERGER,  Johann  Nepomuck,  painter, 
bom  at  Vienna  in  1779,  was  a  pupil  of  the  Institute 
in  Vienna,  and  painted  and  etched  landscapes, 
most  of  them  with  figures,  such  as,  '  A  View  of  the 
Traunfall,'  '  The  Waterfall  at  Tivoli,'  '  The  Interior 
of  an  Italian  Church,'  '  An  ideal  Landscape.'  He 
died  at  Vienna  in  1853. 

SCHOEMACKER-DOYER,  Jakob,  painter,  was 
bom  at  Crefeld  about  1792.  His  father,  who  was 
Dutch,  took  his  son  while  still  a  boy  to  Amster- 
dam, where  he  became  the  pupil  of  S.  Andriessen. 


He  also  studied  under  M.  van  Br^e  at  Antwerp, 
after  which  he  returned  to  Holland,  and  divided 
his  time  between  Amsterdam  and  Zwolle.  He 
painted  portraits,  genre,  and  sometimes  history. 

SCHOENMACKERS,  Jan  Pietersz,  or  Pietersz 
Jan,  born  at  Dort  in  1755,  was  a  pupil  of  Jacob 
van  Stry,  and  painted  views  of  cities  in  the  manner 
of  Vander  Heyden.  His  pictures  are  to  be  found 
in  the  best  modern  collections  in  Holland.  The 
figures  in  them  were  painted  by  the  best  of  his 
contemporaries.  At  one  of  the  exhibitions  at  Dort 
there  were  four  pictures  by  him,  in  which  the 
vessels  and  figures  were  painted  by  J.  C.  Schotel, 
and  a  similar  work  is  in  the  Amsterdam  Museum. 
Schoenmackers  died  in  1842. 

SCHOENN,  Alois, German  painter  and  engraver; 
born  March  11,  1826,  at  Vienna;  became  a  pupil 
of  Ffihrich  and  L.  Rus.s,  and  for  two  years  (1850 
to  1851)  studied  with  Horace  Vernet  in  Paris.  He 
went  through  the  Italian  campaign  of  1848, 
travelled  in  the  East  and  in  Hungary,  and  then 
settled  at  Vienna,  where  he  painted  landscape  and 
genre,  and  also  scenes  from  Jewish  popular  life. 
His  '  Auszug  der  Studenten '  is  in  the  Museum, 
Innsbruck,  and  'Zigeunerlager,'  '  Stunn  auf  Lo- 
drone,"  Volkstheaterauf  Chioggia '  and'Egyptische 
Hochzeit'  are  efiective  examples  of  his  work  at  its 
best.  He  obtained  the  Berlin  gold  medal  in  1875, 
the  Legion  of  Honour  in  1878,  and  the  Karl 
Ludwig  medal  (Vienna)  and  Francis  Joseph  Order 
in  1882  and  1883.  He  died  at  Krumpendorf 
(Carintbia),  September  16, 1897. 

SCHOEVAERDTS,  (or  Schovaerts,)  M.,  a 
Flemish  painter  of  village  festivals  and  merry- 
makings, is  supposed  to  have  been  born  in  1667. 
His  pictures  are  frequently  met  with  in  the 
Netherlands,  and  possess  considerable  merit.  His 
baptismal  name  has  not  been  ascertained.  He 
signed  his  pictures,  and  his  two  known  etchings, 
M.  Schoevaerdts.  Two  of  his  works  have  been 
engraved  under  the  titles  'Fete  de  campagne  Hol- 
landaise,'  and  '  Retour  do  la  Fete  HoUandaise.' 
There  are  two  village  scenes  by  him  in  the  Gallery 
of  the  Louvre.  He  has  been  sometimes  confounded 
with  Christopher  Schwartz. 

SCHOLDERER,  Otto,  German  painter  ;  born 
in  1834,  at  Frankfort-on-the-Maine,  where  he  first 
studied  ;  was  for  some  years  resident  in  London  ; 
died  at  Frankfort,  1902. 
SCHOX,  Bartel.  See  Schongaueb. 
SCHON,  Erhard,  painter  and  draughtsman  on 
wood,  a  pupil  or  imitator  of  Diirer,  died  in  1542. 
He  resided  at  Nuremberg,  and  much  of  his 
early  work  is  to  be  found  in  books  published, 
there  or  at  Lyons,  by  the  firm  of  Koberger, 
especially  in  the  'Hortulus  Animie'  (editions  of 
1517,  1518,  1520),  in  the  Vulgates  printed  at 
Lyons  by  Sacon  and  Marion  in  1519,  1520, 
1521,  and  1522,  and  in  the  Germ.an  Bible  printed 
at  Nuremberg  by  Peypus  in  1524.  In  all  these 
works  his  illustrations  are  mixed  with  those 
of  Springinklee.  His  woodcuts  are  very  imper- 
fectly described  by  Bartsch.  His  most  important 
separate  cut  is  a  large  rosary  (Pass.  iii.  35,  243). 
He  designed  a  pack  of  playing-cards.  About  1528 
he  had  relations  with  Bohemian  printers  and  pub- 
lishers, and  one  of  his  best  works  is  a  title-border, 
with  the  tree  of  Jesse,  bearing  that  date,  which 
appeared  in  a  Bohemian  Bible  printed  at  Prague 
in  1529.  In  1538  he  issued  at  Nuremberg  a  work 
on  proportion  and  drawing,  to  which  he  added  five 
new  cuts,  dealing  with  the  proportions  of  tiie  horse, 

45 


A  BIOGRAPHICAL  DICTIONARY  OF 


in  the  third  edition  of  1542.     He  signed  his  wood- 
cuts with  the  monogram  Ei  to  which  he  some- 
times added  a  pen,  the  emblem  of  the  draughtsman 
(not  to  be  mistaken  for  a  woodcutter's  knife).  C.  D. 
SCHON,  Friedrich  Wilhelm,  painter,  born  at 
Worms  in  1810,  studied  at  Darmstadt  and  Munich. 
He  painted  social  subjects,  and  lamp  and  fire-light 
scenes,  such  as  — '  The  reading  Maiden,'  'Going  to 
Church  in  the  Bernese  Oberland,'  'Return  home  of 
the  Soldier,'  '  South  German  Emigrants  in  a  North 
German  Port,'   '  Meeting  of  an  Art  Society,'  with 
fifty  portraits,  &c.     He  published  a  few  lithographs. 
He  died  at  Munich  in  1868. 

SCHON,  JoHANN  GoTTLOB,  flourished  at  Dresden 
in  the  first  half  of  the  18th  century,  and  was  a 
pupil  of  Alexander  Thiele.     He  painted  and  etched 
several  landscapes.     He  went  in  1740  with  Ismael 
Mengs  to  Rome,  where  he  died. 
SCHON,  Lddwig.    See  Schongauer. 
SCHON,  Martin.    See  Sohongader. 
SCHONBERGER,  Loresz,  painter,  was  born  at 
Voslau,   near  Vienna.     He   was   a   pupil    of  the 
Vienna  Academy  under  Wutki.     In  1798  he  was 
living  in  Bohemia.     He   afterwards  visited  Italy, 
England,  Paris,  and  Amsterdam.    There  are  pictures 
by  him  in  the  Galleries  of  Vienna  and  Hamburg. 
He  etched  twenty  plates,  and  died  about  1840. 

SCHONBRUNNER,  Karl,  painter,  bom  at 
Vienna  in  1832,  a  pupil  of  the  Academy  under 
Fuhrich,  studied  also  at  Rome  and  Venice.  His 
great  work  is  '  Bishop  Ambrose  repulsing  the 
Emperor  Theodosius.'  He  died  in  the  Castle  of 
Hirschstetten  in  1877. 

SCHONEB,  GusTAV  Friedrich  Adolph,  painter, 
born  at  Massbach,  near  Schweinfurt,  in  1774,  was 
first  a  pupil  of  Konrad  Geiger  in  Schweinfurt,  then 
of  Graff  in  Dresden,  and  lastly  of  David  in  Paris. 
He  lived  for  a  long  time  in  Bern,  where  he  painted 
a  portrait  of  Pestalozzi,  and  a  good  profile  of 
Napoleon.  In  1807  he  went  to  Italy,  and  in  after 
years  we  find  him  at  Halberstadt.  He  executed 
several  excellent  copies  of  pictures  after  Guido,  the 
Carracci,  &c.     He  died  at  Bremen  in  1841. 

SCHONFELD,  Heinrich,  painter,  was  born  at 
Dresden  in  1809.  He  at  first  painted  scenery  for 
theatres,  but  afterwards  took  to  architectural  paint- 
ing, chiefly  of  old  German  buildings.  He  died  at 
Munich  in  1845. 

SCHONFELDT,  JoHANN  Heinrich,  (Schenfeld,) 
painter,  was  born  at  Biberach  in  1609,  and  was  a 
scholar  of  Johann  Sichelbein.  He  visited  the 
principal  cities  in  Germany,  and  had  already  given 
proof  of  talent,  when  he  determined  to  visit  Italy. 
On  his  arrival  at  Rome  he  found  employment  in 
the  church  of  S.  Elisabetta  de'  Fornari,  and  in  the 
Palazzo  Orsini.  On  liis  return  to  Germany  be 
practised  as  an  historical  painter  at  Vienna,  Munich, 
Salzburg,  Augsburg,  and  other  cities.  Among  his 
better  works  are  his  pictures  of  '  Christ  on  the  way 
to  Calvary,'  and  tlie  '  Descent  from  the  Cross,'  in 
the  church  of  the  Holy  Cross  at  Augsburg,  where 
he  resided  in  the  latter  part  of  his  life.  In  the 
Senate-house  of  that  city  there  is  a  picture  by 
Schonfeldt  representing  the  race  of  Hippomenes 
and  Atalanta.  He  died  at  Augsburg  about  1680. 
We  liave  a  few  slight  etchings  by  Schonfeldt,  among 
which  are  the  following  : 

A  Head  of  our  Saviour. 

A  p.Tstoral  subject,  with  a  Shepherd  playing  on  a  flute, 
and  a  Shepherdess  holding  a  triangle. 

46 


A  Landscape,  with  a  Man  sitting  on  a  rock. 
A  Bacchanal  with  children. 

SCHONGAUER  (or  SCHON),  Bartel,  engraver, 
is  supposed  to  have  flourished  at  Ulm  about  1479. 
According  to  some  he  was  the  brother  of  Martin 
Schongauer,  whose  style  he  followed.  But  his 
real  name  and  the  facts  of  his  life  are  involved  in 
obscurity.  His  prints  are  usually  marked  with 
a  B.  and  an  S.  in  the  old  German  character,  with 

a  cross  between  them,  thus,    yOfo*    '^^^  ^°'' 
lowing  plates  by  him  may  be  named : 

1.  Christ  on  the  Mount  of  Olives  ;  a  copy  from  one  oj 
M.  Schomjaner^ s  * Fassioii^  series. 

2.  The  Bearing  of  the  Cross ;  ditto. 

3.  The  Two  Lovers  (reversed  from  the  plates  of  Israel 
van  Meckenen  and  the  Master  fV,), 

4.  A  Concert  in  the  Garden. 

5.  The  Fool  and  the  Cook.    (Douce  Collection,  Oxford.) 

6.  The  Beggars  with  a  'Wheelbarrow. 

7.  Mother  with  Children  and  Shield. 

8.  The  Peasant  with  Shield  and  Garlic  Plants. 

9.  Armorial  Bearings  of  the  families  of  Kohrbach  and 
Holzhausen. 

10.  A  Family  of  Monkeys. 

11.  A  Wild  Man  amid  ornamental  foliage. 

12.  Ornamental  Foliage. 

(AU  these  except  No.  5  are  in  the  British  Museum). 

For  fuller  information  as  to  this  master  see 
Naumann's  Archiv.,  Zweiter  Jahrgang,  §  168. 

SCHONGAUER  (named  SCHON),  Martin, 
painter  and  engraver,  was  born  at  Colmar  about 
1445-50.  His  ancestors  had  ranked  among  the 
patrician  families  of  Augsburg  for  at  least  two 
centuries.  The  name  is  derived  from  Schongau, 
on  the  Lech,  in  Bavaria  ;  "Schon" — or  its  equiva- 
lent "  Hiibsch  " — is  an  epithet  applied  to  Martin  the 
artist,  and  not  a  family  name  ;  it  was  used  by  old 
writers  in  many  languages,  as  "Beau  Martin,"  "II 
Bel  Martino,"  &c.  Caspar  Schongauer,  goldsmith, 
emigrated,  not  later  than  1440,  to  Colmar,  where  he 
became  a  citizen  in  1445.  He  was  living  in  1481. 
He  had  five  sons  :  Lddwig,  a  painter  and  indifferent 
engraver,  Caspar,  Georg,  and  Paul,  goldsmiths,  and 
Martin.  The  order  of  seniority  among  the  brothers 
is  unknown.  Caspar,  Ludwig  and  Paul  received 
Diirer  at  Colmar  in  1492,  after  Martin's  death ; 
Georg  was  Dilrer's  host  at  Basle.  In  1465  Martin 
Schongauer,  of  Colmar,  matriculated  at  Leipsic 
University.  In  1469  he  was  already  a  house- 
holder at  Colmar.  Two  drawings  by  him  in  the 
British  Museum  belong  to  that  year,  one  being 
dated  in  the  artist's  own  hand,  the  other  in  that  of 
Diirer.  It  seems  clear  that  Schongauer,  in  addition 
to  learning  the  goldsmith's  craft,  as  a  foundation 
for  his  skill  as  an  engraver,  received  liis  training 
as  a  painter  in  the  Netherlands.  Lambert  Lombard, 
in  a  letter  to  Vasari,  describes  him  as  a  pupil  of 
Rogier  van  der  Weyden,  whose  influence  is  ap- 
parent in  Schongauer's  masterpiece,  'The  Madonna 
of  the  Rose  Garden,'  dated  on  the  back  1473,  in 
St.  Martin's  Church,  Colmar.  An  old  copy  of  this 
picture,  on  a  small  scale,  in  the  collection  of  Mrs. 
Gardner  at  Boston,  preserves  the  complete  com- 
position of  the  original,  which  has  been  greatly  cut 
down.  In  1477  Schongauer  bought  a  new  house. 
In  1488  he  founded  an  anniversary  mass  for  his 
parents  and  himself  at  St.  Martin's.  In  1489  he 
was  a  citizen  of  Breisaoh,  and  there  he  died,  ap- 
parently unmarried,  in  1491  (probably  on  February 
2,  certainly  before  June).  He  seems  to  have 
painted  his  own  portrait  in  1483  :  a  copy  of  this, 
much  later,  by  Burgkraair,  is  in  the  Munich  Gal- 
lery, another  old  copy,  with  the  date  1453,  at  Siena. 


PAINTERS  AND  ENGRAVERS. 


So  picture  is  certified  by  signature  or  document 
as  Schongauer's  work.  Ttie  pictures  nearest  to 
him  in  style,  after  the  Colmar  Madonna,  are  two 
small  '  Holy  Families,'  at  Munich  and  Vienna,  and 
an  'Adoration  of  the  Shepherds,'  at  Berlin.  Two 
wings  of  an  altar-piece  from  Isenheim,  represent- 
ing the  '  Annunciation '  on  one  side,  '  The  Virgin 
adoring  Christ '  and  '  St.  Anthony  '  on  the  other,  are 
the  best  pictures  called  by  his  name  in  the  Colmar 
Museum;  the  'Passion,'  in  sixteen  subjects,  is  a 
school  work ;  so  is  the  so-called  '  Schongauer 
Altar '  in  the  Dim  Minster.  There  are  more  than  a 
hundred  engravings  authenticated  by  his  signature, 
the  initials  M.S.,  with  a  cross,  one  arm  of  which 
is  hooked.  Schongauer's  Madonnas  and  Saints 
are  distinguished  by  their  tenderuess,  purity,  and 
reverence  ;  his  type  of  Christ  is  also  most  refined. 
He  was  not  a  consummate  draughtsman,  but  in 
tlie  technique  of  line-engraving-  was  unrivalled  in 
the  fifteenth  century,  and  scarcely  surpassed  by 
Diirer.  His  ornamental  plates,  such  as  the  'Censer' 
and  '  Pastoral  Staff,'  are  extremely  beautiful.  The 
best  collection  of  his  engravings  is  at  Berlin.  A 
good  one  is  in  the  British  Museum.  All  the  litera- 
ture relating  to  Schongauer  is  cited  and  summarized 
in  '  Bibliographie  des  Ouvrages  et  Articles  con- 
cernant  Martin  Schongauer,' &c.,'  by  Andr6  Waltz, 
Colmar,  1903.  C.  D. 

Of  Schongauer's  plates  from  his  own  compositions 
the  following  are  perhaps  tlie  best : 

1.  The  Angel  of  the  Annunciation. 

2.  '  Ecce  Ancilla  Domini.* 

3.  The  Angelic  Salutation. 

4.  The  Nativity. 

5.  The  Small  Nativity. 

6.  The  Adoration  of  the  Kings. 

7.  The  Flight  mto  Egypt. 

8.  The  Baptism  of  Christ. 

9-20.  A  '  Passiou  '  series  of  twelve  plaies. 

21.  The  large  Beiiring  the  Cross. 

22.  Christ  on  the  Cross,  with  several  figures. 

23.  Christ  on  the  Cross,  with  the  Virgin  and  St.  John 

only. 

24.  Christ   on  the    Cross,   with    soldiers    dividing  his 

garments. 
85.  The  'Large  Cl]rist  on  the  Cross,'  with  angels  re- 
ceiving the  blood. 

26.  A  Christ  on  the  Cross,  with  the  Virgin  and  St.  John. 

27.  '  Noli  me  Tangere.' 

28.  The  small '  Virgin  and  Child.' 

29.  The  large  '  Virgin  and  Child.' 

30.  Virgin  and  Child  with  Parrot  and  Cushion. 

31.  Virgin  and  Child  on  a  Bank,  before  a  wattled  fence. 

32.  Virgin  and  Child,  in  a  Court. 

33.  Virgin  and  Child,  on  a  crescent  moon. 

34.  Death  of  the  Virgin. 
35-46.  The  Twelve  Apostles. 

47.  St.  Anthony  the  Hermit,  with  the  bell  and  pig. 

48.  St.  Anthony  tormented  by  Demons. 

49.  St.  Christopher. 

50.  St.  George  slaying  the  Dragon  with  a  spear. 

51.  St.  George  slaying  the  Dragon  with  a  sword. 

52.  St.  George  riding  over  the  Dragon. 

53.  St.  James  the  Greater  on  a  white  horse. 

54.  St.  John  the  Baptist,  with  the  Agnus  Dei. 

55.  St.  John  the  Evangelist  writing  the  Apocalyrrs. 

56.  St.  Lawrence  with  palm  and  gridiron. 

57.  St.  Martin  and  the  Beggar. 

58.  The  Archangel  Michael  and  the  Dragon. 

59.  The  larger  St.  Sebastian. 

60.  The  smaller  St.  Sebastian. 

61.  St.  Stephen  with  the  Palm-branch. 

62.  A  Bishop. 

63.  St.  Agnes  with  Palm  and  Lamb. 

64.  St.  Barbara  with  Tower. 

65.  The  large  St,  Catherine  of  Alexandria. 

66.  The  small  St.  Catherine  of  Alexandria. 

67.  St.  Veronica  with  the  Sudarium. 

68.  The  Infant  Sanour  with  the  Imperial  Orb. 


69.  Christ  in  the  Act  of  Benediction. 

70.  The  *  Man  of  Sorrows.' 

71.  God  the  Father,  enthroned. 

72.  God  the  Father,  enthroned,  with  the  Virgin  and 

Angels. 

73.  God  the  Father  crowning  the  Virgin. 

74-77.  The  Creature  Symbols  of  the  Four  Evangelists. 

78.  The  Five  "Wise  Virgins. 

79.  The  Five  Foolish  Virgins. 

80.  Bust  of  a  '  Foolish  Virgin.' 

81.  Peasant  going  to  Market,  with  his  wife  and  child. 

82.  Man  with  an  Ass  and  its  Foal. 

83.  Two  Armed  Pedestrians  conversing  (?). 

84.  Two  Youths  quarrelling. 

85.  Elephant  with  Howdah  (?). 

86.  An  Imaginary  Beast. 

87.  A  Stag  and  Doe. 

88.  A  Family  of  Pigs. 

89.  Male  and  Female  Figures  supporting  shields. 

90.  The  Head  of  a  Bishop's  Piistoral  staff. 

91.  A  Censer. 

02.  A  Monstrance. 

93-102.  Ten  Plate.s  of  Ornamental  Foliage. 

(All  these,  with  the  exception  of  half-a-dozen,  are 
ki  the  British  Museum.) 

SCHONINGER,  Leo,  born  at  Weil  in^iirtem- 
bcrg  in  1811,  went  in  1825  to  the  Boisseree  Insti- 
tute to  lithograph  old  German  pictures.  In  1827 
he  studied  at  the  Munich  Academy  under  Cornelius 
and  Stieler.  He  afterwards  lithographed  several 
pictures  in  the  Leuchtemberg  Gallery.  He  died  in 
1880. 

SGHONMANN,  Joseph,  painter,  was  born  at 
Vienna,  April  19,  1799.  He  studied  at  the  Vienna 
Academy,  and  afterwards  at  Rome,  and  is  kno\vn 
principally  by  pictures  painted  for  various  churches, 
at  Trieste  and  Vienna.  He  was  a  member  of  the 
Vienna  Academy. 

SGHOOCK,  or  SCHOOK,  Hendkik,  the  son  of 
GiSBERT  ScHooCK,  a  painter  of  Bommel,  born  at 
Utrecht  about  1670.  He  painted  flowers  and  fruit. 
SCHOOF,  Gerhabdt,  historical  painter,  was 
born  at  Mechlin  in  the  16th  century.  He  was  the 
son  of  one  Jakob  Schoof,  and  perhaps  the  grand- 
son of  Jan  Schoof.  In  1675  he  was  admitted  into 
the  Antwerp  Corporation  of  St.  Luke,  of  which  he 
was  dean  in  1588.  He  had  a  large  number  of 
pupils.  In  1612  he  gave  an  altar-piece  to  the 
church  of  Hoboken,  on  condition  that  every  year 
he  and  his  wife  should  be  carried  to  the  kermesse 
in  that  town  in  a  covered  car  and  provided  with  a 
good  dinner.  In  1614  a  Willem  Schoof,  and  in 
1622-3  a  Jan  Schoof,  who  may  have  been  his 
sons,  were  inscribed  on  the  registers  of  St.  Luke, 
the  former  as  a  master,  the  latter  as  a  pupil. 

SCHOOF,  Jan,  a  painter  of  Mechlin  in  the  16th 
century.  In  1514  he  was  commissioned  by  the 
magistrates  of  his  native  city  to  paint  the  council 
summoned  by  Charles  the  Bold.  The  picture  was 
placed  in  the  church  of  St.  Rumbold,  and  was 
destroyed  by  the  Image-breakers. 

SCHOOF,  Rudolf.  A  Flemish  painter  of  this 
name  was  appointed  to  the  household  of  Louis 
XIII.  of  France,  and  numbered  Adriaan  De  Bie 
among  his  pupils. 

SCHOONEBECK,  Adriaan,  a  Dutch  engraver, 
was  bom  at  Amsterdam  in  1650.  He  engraved  a 
variety  of  frontispieces  and  other  plates  for  books, 
and  published,  in  two  volumes,  the  '  habits  '  of  all 
the  religious  orders  in  Europe.  He  died  at  Moscow 
in  1714. 

SCHOONJANS,  Anthonie,  called  Parrhasius, 
born  at  Antwerp  in  1650,  was  a  scholar  of  Erasmus 
Quellin,  under  whom  he  studied  until  he  was 
nineteen  years  of  age,  when  he  travelled  to  Italy 

47 


A   BIOGRAPHICAL  DICTIONARY  OF 


ia  search  of  improvement.  During  a  residence  of 
ten  years  at  Rome  lie  distinguished  himself  by  an 
exemplary  application  to  his  studies,  and  painted 
some  pictures  for  the  churches,  which  gained  him 
considerable  reputation.  In  1678  he  was  invited 
to  the  court  of  Vienna  by  the  Emperor  Leopold, 
who  appointed  him  his  painter.  The  desire  to  visit 
England  induced  him  to  request  leave  of  absence,  and 
he  came  to  this  country  in  tlie  reign  of  King  William. 
His  portrait,  painted  by  himself,  was  in  the  collec- 
tion at  Strawberry  Hill.  On  his  way  back  to  Vienna 
he  passed  some  time  at  Diisseldorf,  where  he  painted 
some  pictures  for  the  Elector  Palatine,  who  pre- 
sented him  with  a  gold  medal  and  chain.  He  died 
at  Vienna  in  1726.  There  is  an  example  of  his 
work  in  the  Munich  Pinakothek. 

SCHOOR,  Nicolas  van,  born  at  Antwerp  in  1G66, 
painted  fanciful  groups,  in  the  flower-pieces  by 
Rysbraeck  and  others.  He  also  made  designs  for 
tapestry  at  Antwerp  and  Brussels.  He  died  at 
Antwerp  in  1726.  In  the  Museum  at  Ghent  there 
is  an  equestrian  portrait  by  liim  of  Charles  II.  of 
Spain,  painted  wlien  that  prince  was  about  eighteen. 
SCHOORE,  J.  v.,  a  Flemish  engraver,  who 
flourished  about  the  year  1650.  Among  other 
prints  he  engraved  a  plate  of  St.  Vincent,  after 
Anthonie  Sallaert. 

SCHOOTEN,  Frans  van,  was  an  amateur  painter 
of  fruit  and  flowers,  who  practised  at  Leyden  in  the 
17th  century,  and  was  a  professor  at  the  University. 
It  is  supposed  that  he  was  related  to  Joris  van 
Schooten.  In  some  of  his  pictures,  figures  were 
inserted  by  Frederic  Moucheron. 

SCHOOTEN,  Joris  van,  was  born  at  Leyden 
about  1587.  He  was  a  pupil  of  Coenrad  van  der 
Maes  of  Leyden,  and  was  already  a  portrait  painter 
of  repute  at  the  age  of  twenty.  In  1610  he  com- 
bined with  other  artists  to  sign  a  petition  to  the 
local  authorities  of  Leyden,  requesting  the  neces- 
sary privileges  for  the  formation  of  a  Guild  of  St. 
Luke.  The  large  portrait  pieces  of  many  figures 
which  he  usually  painted  are  characterized  by  good 
colour  and  a  knowledge  of  chiaroscuro,  and  have 
much  individuality,  though  they  are  poor  in  com- 
position. Several  of  them  were  portrait  groups  of 
the  Civil  Guard  or  Shooting  Guild  of  Leyden  in 
the  years  1626,  1628,  and  1650,  and  are  now  pre- 
served in  the  Museum  of  that  city,  where  are  also 
two  curious  allegorical  pictures.  In  the  Rijks 
Museum  at  Amsterdam  there  is  an  '  Adoration  of 
the  Kings '  by  him.  Jan  Lievens  and  Abraham 
van  den  Tempel  were  for  a  time  his  pupils.  Suy- 
derhoef  engraved  one  of  his  portraits,  and  J.  G. 
Van  Vliet  a  '  Christ  and  the  Woman  of  Samaria '  ; 
it  is  inscribed  J.  van  Schooten,  1635.  Schooten 
died  in  1658. 

SCHOPF,  Joseph,  painter,  born  at  Telfs  in  the 
Oberinnthal  in  1745,  was  instructed  by  Martin 
Knoller,  and  then  went  in  1776  to  Rome,  where  he 
studied  Raphael  and  Correggio,  and  came  under  the 
influence  of  Mengs.  On  his  return  he  painted 
frescoes  for  many  churches  in  the  neighbourhood 
of  Innspruok.     He  died  in  1822. 

SCHOPFER,  Hans,  painter,  a  native  of  Munich, 
was  born  about  the  middle  of  the  16th  century. 
His  works  have  been  given  to  Hans  Schiiufelin  and 
A.  DUrer.  He  painted  the  following  portraits  :  the 
Countess  Euphrosyne  of  Oettingen  and  Benigna  von 
Lamberg  at  Schleissheim,  Caspar  von  Pienyenau 
in  the  Moritz  Chapel  at  Nuremberg  ;  and  several 
altar-pieces,  among  which  was  one  for  the  Pilgrims' 
Church  at  Ramersdorf,  near  Munich.  He  died  in 
48 


Douai. 

Museum, 

Metz. 

Toulouse. 

)i 

Versailles. 

J3 

1610.     He  signed  his  works  with  his  initials  and  a 

roiigbly-drawn  spoon. 

SCHOPIN,  Henry  FRiofeic,  painter,  was  bom 
at  Lubeck,  of  French  parents,  in  1804.  He  studied 
in  Paris  under  Gros,  and  gained  the  '  prix  de  Rome ' 
in  1830.  He  was  several  times  premiated,  and  was 
a  constant  exhibitor  at  the  Salon  from  1830  onwards. 
He  died  in  1880.  The  following  are  examples  of 
his  work : 

Last  Moments  of  the  Cenci. 

Battle  of  Hohenliuden. 

Jacob  and  Laban. 

Portrait  of  Cambac^res. 
„  „  Portrait  of  Marshal  Bidal. 

„  „  The  Taking  of  Autioch  in  1098. 

And  a  series  of  pictures  illus- 
trating the  legend  of  St.  Sa- 
tnminus  for  the  chapel  of  the 
saint  at  Fontainebleau. 

SCHOPPE,  Julius,  painter,  born  at  Berlin  in 
1797.  He  received  his  art  education  in  Rome, 
where  he  made  a  special  study  of  the  works  of 
Raphael,  Correggio,  and  Titian.  In  1825  he  painted 
for  his  reception  picture  at  the  Berlin  Academy  a 
'Death  of  Frederick  William  IIL ,'  which  attracted 
some  attention.  He  decorated  Prince  Charles' 
country  house  at  Glienicke,  near  Potsdam,  with 
mythological  paintings,  and  was  also  much  em- 
ployed as  a  portrait  painter.  His  oil  pictures  in 
miniature  are  generally  more  pleasing  than  iris 
larger  works.  Among  his  most  successful  portraits 
are  those  of  the  Duchess  of  Orleans  and  of  the 
Count  and  Countess  von  Amim. 

SCHORN,  Karl,  born  at  Dusseldorf  in  1800, 
studied  at  Munich  under  Cornelius,  from  1824  to 
1827  in  Paris  under  Gros  and  Ingres,  and  from  1832 
onwards  worked  in  Wach's  atelier  at  Berlin.  He 
soon  produced  a  number  of  pictures,  among  which 
were,  'Mary  Stuart  and  Rizzio,'  'Charles  V.  at 
St.  Yuste,'  '  Cromwell  before  the  Battle  of  Dunbar.' 
From  Berlin  he  went  to  Munich,  where  he  pro- 
duced several  works  of  a  mythical  and  allegorical 
nature.  He  visited  Italy  from  time  to  time  on 
short  journeys,  and  so  supplied  himself  with  ma- 
terial for  fresh  pictures.  He  painted  in  the  Arcades 
of  the  Munich  Hof-garten.  In  1847  he  was  elected 
professor  of  the  Munich  Academy,  which  post  he 
iield  till  his  death,  which  took  place  at  Munich  in 
1850.     Works : 

Berlin.  National  Gallery .    Card-players. 

„  „  Pope  Paul  III.  before  Luther's 

Portrait. 
Munich.    JV.  Pinakothelc.     The  Deluge;  unfinished,  owing 

to  the  artist's  death. 

SCHORPP,  Michel,  a  German  painter  of  the 
15th  century,  known  only  by  a  print  in  the  'Biblio- 
theque  Nationale '  of  Paris.  It  is  a  Madonna  in 
the  Byzantine  manner,  and  bears  the  following 
inscription:  Michel  Shorpp,  maeler zu  Vim',  1496. 

SCHORQUENS,  Jan,  a  Dutch  engraver,  who 
resided  at  Madrid  about  the  year  1620.  He  was 
an  excellent  engraver  of  title-pages,  of  which  he 
executed  many  for  Spanish  books  from  1618  to 
1630.  Some  are  signed  J.  van  Schorquens, 
fecit,  in  Madrid.  His  best  plate  is  a  View  of 
Lisbon  in  the  official  report  of  the  coronation  of 
Phillip  III. 

SCHOTANUS,  PiETER,  a  Dutch  painter  of  the 
17th  century,  who  probably  practised  as  an  ama- 
teur at  Leeuwarden.  He  painted  village  fetes, 
battles,  and  kindred  subjects. 

SCHOTEL,  Christina,  the  daughter  of  Johann 
Christianus  Sohotel,  was  born  at  Dordrecht  in  1818. 


PAINTERS  AND    ENGRAVERS. 


She  was  taught  by  her  father  and  by  her  brother 
Petrus,  and  painted  flo-wers,  fruit,  and  still-life. 
She  died  at  Aardenburg  in  1854. 

SCHOTEL,  JoHANN  Christiands,  a  distinguished 
marine  painter,  was  born  at  Dort  in  1787.  He 
was  a  scholar  of  A.  Meulemans,  and  subsequently 
of  Martin  Schouman.  At  the  conclusion  of  his 
pupilage  he  devoted  himself  to  the  study  of  nature, 
for  which  purpose  he  would,  like  Backhuysen, 
go  to  sea  in  an  open  boat.  From  1814  to  1817 
he  worked  in  concert  with  Martin  Schouman,  on 
two  pictures  representing  the  retreat  of  the  French 
from  Dort,  and  the  bombardment  of  Algiers. 
Schotel  received  honours  from  his  own  sovereign 
and  other  crowned  heads,  and  was  a  member  of 
several  academies  and  societies  of  arts.  His  pic- 
tures were  at  one  time  eagerly  sought  after.  He 
died  at  Dort  the  21st  of  December,  1838. 

SCHOTEL,  Petrus  Johann,  born  at  Dort  in  1808, 
a  son  and  pupil  of  Johann  Christianus  Schotel,  in 
whose  footsteps  he  followed.  His  best  picture  is 
'The  Anchorage  near  Texel  in  stormy  weather.' 
He  died  at  Dresden  in  1865. 

SCHOTT,  August,  born  at  Giessen  in  1811, 
studied  first  under  Diicor^e,  and  afterwards  at  the 
Stadel  Institute,  in  Frankfort,  and  at  the  Munich 
Academy.  He  made  several  pencil  drawings,  and 
painted  small  historical  pictures,  but  afterwards 
became  a  follower  of  Overbeck  and  Steinle,  several 
of  whose  pictures  he  reproduced  in  lithography. 
He  died  in  1843. 

SCHOUMAN,  Aart,  a  Dutch  painter  and  en- 
graver, bom  at  Dort  in  1710,  was  a  painter  of  sorne 
merit,  particularly  of  birds,  which  he  painted  in 
the  manner  of  Hondekoeter  and  Weeninx.  He 
also  painted  landscapes  with  animals,  portraits, 
small  historical  pictures,  and  subjects  from  the 
poets,  especially  from  Ovid's  '  Metamorphoses.'  He 
was  a  good  draughtsman  and  colourist,  and  at  one 
time  engraved  on  crystal.  His  rather  poor  mezzo- 
tints are  after  Gerard  Dou,  Schalcken,  Paul  Potter, 
Frans  Hals,  &c.  He  resided  constantly  at  the 
Hague,  where  he  died  in  1792. 

SCHOUMAN,  Maetinus,  marine  painter,  born  at 
Dort  in  1770,  first  studied  under  Versteeg,  and  then 
imder  his  uncle,  Aart  Schouman.  He  excelled  in 
the  representation  of  ships,  and  of  still  and  troubled 
waters.  His  chief  pictures  are,  '  The  Bombard- 
ment of  Algiers,'  '  The  Departure  of  the  French 
from  Dort,'  painted  in  conjunction  with  Schotel. 
He  died  in  1853.  His  son  Isaac,  born  at  Dordrecht 
in  1801,  was  his  pupil,  and  painted  genre  pictures 
and  marine  subjects. 

SCHOYEN,  C.,  a  Norwegian  landscape  painter, 
who  studied  under  Eckersburg  and  Yude,  and 
practised  in  Germany.  He  died  while  still  young 
in  1870. 

SCHRAMM,  Johann  Heinrich,  born  at  Teschen, 
in  Austrian  Silesia,  made  pencil-portraits  of  Thor- 
waldsen,  Mendelssohn,  Andersen,  Metternich,  Cor- 
nelius, Grimm,  and  others.  He  died  at  Vienna  in 
1865. 

SCHRAMM,  Johann  Michael,  born  at  Sulzbach, 
in  Bavaria,  in  1772,  was  first  a  gold  worker,  and 
then  went  to  Mimich  in  1793,  where  he  practised 
miniature  painting  and  engraving.  In  1801  he 
went  to  the  Academy  at  Vienna,  and  studied  for 
three  years,  after  which  he  returned  and  settled  at 
Munich,  where  he  died  in  1835. 

SCHRAUDOLPH,     Claudius     von,     German 
painter ;  born  February  4, 1843,  at  Munich  ;  became 
a  pupil  of  his  father,  and  subsequently  worked 
VOL.  V.  E 


under  Anschiitz  and  Hiltensperger  at  the  Munich 
Academy.  After  travel  in  Italy  and  France  he 
settled  at  Stuttgart,  where  he  became  Director  of 
the  Art  School.  Painted  frescoes  at  the  Nuremberg 
Exhibition  of  1884,  and  his  canvases,  '  Faust  and 
Wagner '  and  '  A  Venetian  Concert,'  are  well 
known.  He  was  the  recipient  of  many  Orders  of 
distinction.     He  died  at  Stuttgart  in  1891. 

SCHRAUDOLPH,  Johann  von,  born  at  Oberts- 
dorf,  in  Algau,  in  1808,  received  his  first  instruction 
at  the  Munich  Academy,  principally  under  Cornelius 
and  Schlotthauer.  He  helped  the  latter  with  the 
frescoes  of  the  Glyptothek,  and  then  with  his 
scenes  from  the  history  of  Moses  in  the  church  of 
All  Saints.  In  1844  he  went  to  Rome,  and  on  his 
return  was  commissioned  to  decorate  the  cathedral 
at  Spires.  He  died  at  Munich  in  1879.  Of  his 
pictures  we  may  name : 

Munich.  Pinakothek.  St.  Agnes  with  the  Lamb. 

„  „  The  Virgin  and  Child. 

„  „  Euth  and  Naomi. 

„  „  The  Ascension  of  Christ. 

„  ,,  The    Miraculous    Draught    of 

Fishes. 

„  „  Adoration  of  the  Kings. 

„  „  Worship  of  the  Vimn. 

,j  „  Christ  healing  the  Sick. 

,,  „  Christ  nailed  to  the  Cross. 

SCHREIBER,  Moritz,  was  working  at  Leipsic 
from  1539  to  1556,  in  collaboration  with  one 
Heinrich  Schmidt,  a  painter  whose  name  occurs 
between  1501  and  1541,  in  the  town  archives. 
Schreiber  appears  to  have  been  the  better  artist  of 
the  pair. 

SCHREUEL,  Johann  Christian  Albrecht, 
draughtsman  and  painter,  born  at  Maestricht  in 
1773,  was  an  officer  in  the  Dutch  service,  but  gave 
up  his  profession  for  the  practice  of  art.  He 
studied  at  Berlin,  and  afterwards  at  Dresden,  with 
Grassi,  under  whose  guidance  he  became  a  good 
miniaturist,  and  painted  portraits  of  many  dis- 
tinguished persons.  He  also  occupied  himself 
much  in  making  copies  from  the  pictures  in  the 
Dresden  Gallery. 

SCHREYER,  Adolf,  German  painter,  born  May 
9,  1828,  at  Frankfort-on-the-Maine  ;  became  a 
pupil  of  the  Staedel  Institute  at  Frankfort,  and 
also  studied  at  the  Munich  Academy  ;  went  through 
the  Crimean  campaign  as  war  artist,  and  settled 
finally  in  Paris  in  1862.  When  the  Franco- 
German  war  broke  out  in  1870  he  returned  to 
Cronberg.  He  obtained  distinction  as  a  painter 
of  battle-pieces  and  horses.  Examples  of  his  work 
are  in  the  Galleries  of  Berlin,  Hamburg,  Schwerin, 
and  Washington.  He  obtained  medals  in  Paris  in 
1864,  1865,  and  1867.  He  died  at  Cronberg,  July 
29,  1899. 

SCHRIECK,  Otto  Marcellis  van,  called  Snuf- 
FELAER,  a  Dutch  painter,  born  at  Amsterdam  in 
1613.  It  is  not  known  by  whom  he  was  instructed, 
but  he  acquired  considerable  celebrity  by  his  excel- 
lence in  a  very  singular  branch  of  art.  He  painted 
reptiles,  insects,  and  curious  plants,  which  he  de- 
signed with  surprising  fidelity,  and  finished  with 
extraordinary  care.  He  resided  some  time  in  Paris, 
and  afterwards  visited  Florence,  where  his  talents 
were  disringuished  by  the  Grand  Duke,  Naples,  and 
Rome,  where  he  passed  several  years.  He  painted 
entirely  from  nature,  to  which  end  he  is  said  to 
have  kept  a  kind  of  museum  of  serpents,  vipers, 
rare  insects,  and  other  curiosities.  His  pictures 
are  found  in  the  choicest  collections  in  Holland. 

49 


A  BIOGRAPHICAL  DICTIONARY  OF 


There  is  a  good  example  of  his  art  in  tiie  National 
Gallery.     He  died  at  Amsterdam  in  1673. 

SCHRODER,  Friedeich.  was  bom  at  Hesse  Cassel 
in  1768,  and  was  a  scholar  of  Klauber,  an  engraver  of 
Augsburg.  He  confined  himself  chiefly  to  land- 
scapes, and  engraved  several  after  Swanevelt, 
Vemet,  La  Hire,  Karel  du  Jardin,  and  Bemrael,  in 
the  manner  of  Woollett.  He  also  assisted  in  the 
backgrounds  and  ornamental  parts  of  plates  in 
which  the  figures  were  executed  by  other  artists, 
among  which  were  the  '  Sabines  '  by  Massard,  and 
'Henry  IV.'s  Entry  into  Paris'  by  Toschi. 

SCHRODER,  Geobq  Engelhard,  a  Swedish 
painter,  born  at  Stockholm  in  1684.  He  died  in 
1750. 

SCHRODER,  Hans,  a  German  engraver,  who 
flourished  about  the  year  1600.  He  engraved  some 
plates  of  ornamental  foliage,  &c. 

SCHRODER,  JoHANN  Heinrich,  born  at  Meinin- 
gen  in  1757,  learned  his  art  of  Tischbein  in  Cassel, 
and  practised  as  a  portrait  painter.  He  worked 
in  Hanover  and  Brunswick,  and  then  travelled 
through  the  Netherlands  and  England,  where  he 
painted  se^'eral  members  of  the  Royal  Family. 
On  his  return  he  painted  a  portrait  of  Frederick 
William  II.,  Bang  of  Prussia.  He  died  at  Meinin- 
gen  in  1812. 

SCHRODER,  Karl,  painter,  was  born  at  Bruns- 
wick in  1802.  From  1817  to  1824  he  attended  the 
Academy  Schools  at  Dresden,  and  then  settled  for 
a  time  at  Munich.  On  his  return  to  his  native 
town  he  became  known  chiefly  as  a  painter  of 
humorous  genre  pictures,  many  of  which  were 
further  popularized  by  lithographs. 

SCHRODER,  Karl,  engraver,  born  in  1761,  at 
Brunswick,  where,  after  studying  in  Augsburg  and 
Paris,  he  settled  down  and  engraved  many  plates, 
chiefly  after  pictures  in  the  now  dispersed  Salz- 
dahlum  collection,  such  as: 

Abraham's  Sacrifice  ;  after  Lievens. 
The  Marriage  Contract ;  after  Jan  Steen. 
The  Young  Man  in  the  Cloak ;  after  Koninck. 
Young  Woman  of  Salzburg;  after  Pesjie. 

He  etched  a  few  plates. 

SCHRODTER,  Adolf,  born  in  Schwedt  in  1805. 
In  1820  he  entered  the  studio  of  Professor  Buck- 
horn,  the  engraver  ;  in  1829  he  went  to  Diisseldorf, 
and  studied  under  W.  von  Schadow ;  in  1831  he 
began  to  paint,  and  in  1855  was  made  professor  to 
the  Polytechnic  at  Carlsruhe,  which  post  he  re- 
signed in  1872.  He  died  at  Carlsruhe  in  1875. 
He  produced  many  book  illustrations,  and  the 
Berlin  National  Gallery  contains  examples  of  his 
painting. 

SCHROEDER,  William  Howard,  English  black- 
and-white  artist  ;  the  first  real  artist  that  South 
Africa  produced  ;  best  known  as  a  caricaturist ; 
many  of  his  political  cartoons  in  the  '  Press '  of 
Pretoria  were  copied  by  London  papers  ;  his  early 
death  occurred  at  Pretoria,  in  August  1892. 

SCHROTER,  Johann  Friedbich,  engraver,  born 
at  Leipsic  in  1770,  was  a  pupil  of  Bause.  In  1813 
he  was  appointed  engraver  to  the  Leipsic  Uni- 
versity. He  executed  some  plates  after  Rembrandt, 
but  his  works  were  chiefly  anatomical.  He  died  at 
Leipsic  in  1836. 

SCHROTER,  Johann  Friedrich  Kakl  Konstan- 
TiN,  painter,  born  at  Schkeuditz,  between  Halle 
and  Leipsic,  in  1795.  In  1811  he  went  to  the 
Drawing  School  at  Leipsic,  and  in  1817  to  Dresden, 
where  he  entered  the  atelier  of  Professor  Pochmann. 

50 


In  1819  he  returned  to  Leipsic,where  he  earned  his 
living  by  portrait-painting,  which,  however,  he 
eventually  abandoned,  on  the  advice  of  Schnorr,  for 
genre.  In  1826  he  settled  at  Berlin,  where  he 
died  in  1835.     His  principal  pictures  are: 

Mother  and  Daughter  Spinning. 

The  Sermon. 

The  Music  Teacher.    (National  Gallery,  Berlin.) 

The  Village  School. 

The  Sale  of  a  Painter's  Effects. 

SCHTSCHEDRIN ,  Semen  Fedorowitsch, 
painter,  a  native  of  St.  Petersburg,  who  after  study- 
ing at  the  Academy  went  to  Italy,  and  on  his  re- 
turn became  painter  to  Catherine  II.  He  painted 
Italian  landscapes.     He  died  in  1804. 

SCHTSCHEDRIN,  Silvester  Fedorowitsch, 
painter,  born  at  St.  Petersburg  in  1791,  received 
his  early  training  at  the  Academy  under  Iwanoff 
and  Worobieff,  and  then  studied  in  Germany  and 
Italy.  He  showed  a  great  talent  for  landscape. 
In  the  Hermitage  at  St.  Petersburg  are  '  The 
Colosseum,'  and  the  '  Lake  of  Nemi,'  by  him.  He 
died  at  Sorrento  in  1830. 

SCHUBACK,  Gottlieb  Emil,  German  painter ; 
born  June  28, 1820,  at  Hamburg,  where  he  became 
a  pupil  of  G.  Hardortf;  he  also  studied  with 
Cornelius  and  Hess  at  Munich,  and,  at  Diisseldorf, 
with  Jordan,  while  from  1843  to  1848  he  worked 
at  Rome.  In  1856  he  settled  at  Diisseldorf.  His 
works  include  an  altar-piece, '  Christ  on  the  Mount 
of  Olives,'  a  portrait  of  Gensler,  '  Das  Wieder- 
sehen,'  '  Vorstellung  des  Neuen  Schulmeisters,' 
'Ausgang  aus  der  Kirche,'  &c.     He  died  in  1902. 

SCHUBART,  Christopher,  a  German  painter  of 
the  17th  century,  a  native  of  Ingolstadt.  He  prac- 
tised principally  at  Munich,  but  is  said  to  have 
painted  a  portrait  of  Queen  Anne  of  England. 

SCHUBAKT,  PiETER,  (ScHDBERT,)  Was  a  native 
of  German}',  but  resided  at  Venice  about  the  year 
1696.  Professor  Christ  ascribes  to  him  the  engrav- 
ings marked  with  the  letters  P.  S.  d.  E.,  which  he 
interprets,  "  Peter  Schubert  de  Ehrenberg." 

SCHUBERT,  Franz  August,  German  painter 
and  etcher  ;  born  at  Dessau,  November  10,  1806  ; 
became  a  pupil  of  Becks,  and  also  studied  at  the 
Dresden  Academy  and  at  Munich  under  Cornelius 
and  Schnorr.  After  residence  at  Florence,  Rome, 
Naples,  and  Venice,  where  he  worked  assiduously, 
he  returned,  at  the  invitation  of  Cornelius,  to  Berlin. 
In  1860  he  was  appointed  professor  at  Anhalt- 
Dessau.  His  works  include  '  Macht  der  Musik,' 
'  Grablegung,' '  Urtheil  Salomonis,'  and  many  sub- 
jects of  a  Biblical  character.  Twenty-five  of  his 
etchings  were  from  Santi's  Psyche  frescoes  in  the 
Farnesina.     He  died  at  Dessau  in  1893. 

SCHUBERT,  Johann  David,  painter  and  en- 
graver, born  at  Dresden  in  1761,  studied  there 
under  Hutin  and  Klass,  and  became  in  1781 
painter  at  the  porcelain  works  at  Meissen.  In 
1800  he  became  professor  of  historical  painting, 
and  alternate  Director  of  the  Dresden  Academy. 
He  executed  many  etchings  for  books.  He  died 
at  Dresden  in  1822. 

SCHUBLER,  A.  Q.  J.,  a  German  engraver,  who 
resided  at  Niiremberg  about  the  year  1626.  He 
was  chiefly  employed  in  engraving  portraits  for  the 
booksellers,  which  are  very  indifi'erently  executed. 
He  engraved  part  of  the  plates  for  a  work  entitled 
'  Icoaes  Bibliopolarum  et  Typographorum,'  pub- 
lished at  Aldorf  and  Niiremberg  in  1G26. 

SCHULEIN,  or  SCHUCHLIN,  Ha.ns,  painter  of 
the  school  of  Ulm,  born  about  1440,  died  at  Uhn, 


PAINTERS  AND  ENGRAVERS. 


1505.  The  close  connection  between  the  Hof 
altar-piece  (see  under  Wolgemut)  and  Schiilein's 
picture  at  Tiefenbronn,  together  with  documentary 
proof  of  the  painter's  connection  with  Nuremberg, 
renders  it  probable  that  he  was,  like  Wolgemut, 
a  pupil  of  Hans  Pleydenwurff  in  that  city.  Less 
dramatic  and  powerful  than  the  painters  of 
Niiremberg,  he  was  endowed  with  a  higher  sense 
of  beauty  than  they.  His  works  are  very  careful 
in  execution,  and  are  remarkable  for  the  depth  and 
earnestness  of  the  feeling,  and  show  considerable 
knowledge  of  form.  His  colour  scheme  is  widely 
removed  from  that  of  the  Niiremberg  masters,  and 
is  more  closely  related  to  the  early  school  of 
Swabia  of  the  first  half  of  the  15th  century.  By 
1469  Scliiilein  must  already  have  been  a  painter 
of  repute,  for  he  was  chosen  by  the  Gemmingen 
family  to  paint  the  altar-piece  for  the  church  at 
Tiefenbronn,  the  burying-place  of  their  family. 
Later  on,  in  conjunction  with  his  son-in-law  Zeit- 
blom,  ho  produced  an  altar-piece  for  the  church  of 
MUnster  near  Augsburg,  and  another  for  the  church 
of  St.  Maurice  at  Loroh.  He  was  head  of  the 
Painters'  Guild  at  Dim  in  1493,  and  between  1497 
and  1502  was  connected  with  the  building  com- 
mittee of  the  Cathedral. 
His  principal  works  are  : 

Buda-Pesth.  Gallery.  The  Death  of  the  Madonna 
(signed ;  much  repainteil. 
Formerly  in  the  church  at 
Miinster  near  Augsbm-g). 

Tiefenbronn.  Parish  \  History  of  Christ  and  the  Ma- 
Church.  j      donna  (dated  1409). 

The  following  are  ascribed  to  him  : 

Bamberg.  Gallery. 

Dunkelsbiihl,      Church  \ 
of  St.  George,  i 
Schloss  Meffersdorf, 
Silesia. 


The  Entombment. 

The  Crucifixion  (before  1469). 

The    Lament   over    the    Dead 
Body  of  Christ  (of  1483). 

Other  works  at  Augsburg,  Niiremberg,  Stuttgart. 
&c.  C.J.ff. 

SCHULER,  Charles  Lonis,  engraver,  born  at 
Strasburg  in  1784-5,  studied  in  Paris,  and  worked 
first  at  Strasburg,  engraving  small  plates  for 
almanacks,  and  other  fugitive  publications.  Ho 
afterwards  settled  at  Carlsruhe,  where  he  executed 
a  number  of  more  ambitious  plates,  such  as  'The 
Assumption  of  the  Virgin,'  after  Guido ;  a  '  Holy 
Family,'  after  Raphael.  His  son  and  pupil,  Edodakd, 
also  practised  as  an  engraver  at  Strasburg. 

SCHULER,  Theophil,  born  at  Strasburg  in  1821, 
studied  in  Paris  and  Munich.  He  was  a  pupil  of 
Drolling  and  Paul  Delarocho.  In  1848  he  executed 
the  illustrations  for  Arnold's  'Whit  Monday,'  and 
at  the  same  time  painted  for  the  Museum  at  Colmar 
his  great  allegory  '  The  Chariot  of  Death.'  He 
made  many  pencil  drawings  for  the  illustrated 
magazines,  and  for  the  works  of  Jules  Verne 
Victor  F  -    -  _     .- 

in  1878. 

SCHDLTEN,  Arnold,  a  landscape  painter  of 
the  Dusseldorf  school,  born  in  1809,  entered  the 
Diisseldorf  Academy  in  1822,  and  in  1849  estab- 
lished his  own  atelier.  His  earlier  landscapes  are 
of  German  scenery,  but  his  later  ones  of  Switzer- 
land, Bavaria,  and  Italy.     He  died  in  1874. 

SCHULTHESS,  Karl,  painter,  was  born  at 
Neuchatel  in  1775.  He  taught  himself  drawing, 
and  then  gave  lessons  in  his  native  place.  After 
practising  there  for  a  time,  he  worked  for  some 
years  in  Dresden  and  Paris.  He  finally  settled  in 
E  2 


NeuchS,tel,  and  taught  drawing  at  the  municipal 
school. 

SCHULTZ,  Daniel  (Sch&ltz),  painter  and 
etcher,  born  at  Dantzic  about  1620,  studied  in  Paris 
and  Breslau,  and  painted  many  portraits.  Three 
etchings  of  animals  are  assigned  to  Schultz.  He 
died  in  1686. 

SCHDLTZ,  JoHANN  Karl,  architectural  and 
landscape  painter,  born  at  Dantzic  in  1801,  received 
his  first  instruction  from  Breysig  in  the  Academy 
of  that  city.  In  1820  he  went  to  Berlin,  where  he 
studied  under  Hummel,  and  in  1823  to  Munich, 
where  from  a  personal  acquaintance  with  Quaglio 
he  learned  much,  and  where  he  also  painted  his 
first  pictures,  the  Cathedrals  of  Meissen  and  Ratis- 
bon.  In  1824  he  went  to  Italy,  and  his  '  Interior 
of  Milan  Cathedral '  made  his  reputation.  In  1832 
he  was  appointed  Professor  of  Drawing  and  Director 
to  the  Art  School  at  Dantzic.  He  etched  several 
plates.     He  died  at  Dantzic  in  1873. 

SCHULTZE,  Franzisea,  a  flower  painter,  born 
at  Weimar  in  1805.  She  modelled  herself  on 
Huysum,  Seghers,  Mignon,  and  De  Heem.  She 
died  at  Weimar  in  1864. 

SCHULZ,  Karl  Friedkich,  genre  and  landscape 
painter,  born  at  Selchow  in  1796,  was  the  son  of  a 
baker.  He  served  in  the  campaigns  of  1814  and 
1815,  and  then  applied  himself  to  art  at  the  Academy 
of  Berlin.  In  1821  he  travelled  through  Holland, 
France,  and  England,  and  copied  some  of  Van 
Eyck's  works  for  the  Berlin  Museum.  For  a  nhort 
time  he  was  a  teacher  at  the  Berlin  Academy. 
His  '  Cuxhaven,'  '  Storm  at  Calais,'  and  'Poachers, 
are  in  the  Berlin  National  Gallery.  Pie  was  called 
'Jagd  Schulz,'  from  his  hunting  pictures.  He 
died  in  1866. 

SCHULZ,  Leopold,  painter,  born  at  Vienna  in 
1804,  studied  in  Vienna,  Munich,  and  Rome  where 
he  painted  a  portrait  of  Gregory  XVI.  On  his 
return  he  painted  scenes  from  Homer  and  Theo- 
critus in  the  new  palace  at  Munich.  In  1837  he 
painted  the  Martyrdom  of  St.  Florian  for  the  church 
of  that  saint.  He  died  in  Heiligenstadt,  near 
Vienna,  in  1873. 

SCHULZ-BRIESEN,  Eduard,  German  painter, 
born  May  11,  1831,  at  Haus  Amstel,  near  Neuss; 
studied  art  under  Hildebrand,  Solin,  Schadow,  .and 
Vautier ;  and  at  Antwerp  became  a  pupil  of 
Dykmanns  and  Wappers;  he  subsequently  travelled 
in  France,  Switzerland,  and  Italy.  Among  his 
pictures  we  may  mention  '  Verhaftung,'  '  Scene  im 
Gerichtshof,'  'In  Gedanken,'  '  Gottesdieust  aiif 
dem  Lande,'  &c.  He  is  also  known  as  a  portraitist 
and  an  engraver  ;  obtained  gold  medals  in  London 
and  Brussels,  and  an  honourable  mention  at  Berlin. 
He  died  at  Diisseldorf,  February  21,  1801. 

SCHULZE,  Christian  Gottfried,  was  born  at 
Dresden  in  1749,  and  learned  the  rudiments  of  de- 
sign from  Charles  Hutin.  After  being  taught  en- 
graving by  Giuseppe  Camerata,  he  went  to  Paris, 
where  he  profited  by  the  lessons  of  J.  G.  Wille, 
and  other  eminent  engravers.  On  his  return  to 
Saxony  he  engraved  several  portraits  and  other 
subjects,  particularly  some  of  the  plates  in  the 
'  Dresden  Gallery.'     He  died  in  1819. 

SCHUMACHER,  Karl  Georq  Christian, 
painter,  born  at  Doberan  in  1797.  After  receiving 
some  slight  instruction  from  Suhrlandt,  he  studied 
at  Dresden  and  in  Italy.  On  his  return  to  Ger- 
many he  painted  at  Schwerin  some  frescoes  in  the 
Government  House,  which  were  afterwards^  de- 
stroyed by  fire.     He  was  appointed  court-painter 

61 


A  BIOGRAPHICAL  DICTIONARY  OF 


at  Schwerin,  but  was  obliged  to  relinquish  his 
profession  in  1863,  when  he  became  totally  blind. 
He  etched  six  plates,  and  executed  three  lithographs. 
SCHUMANN,  JoHANN  Gottlob,  was  born  at 
Dresden  in  1761.  He  engraved  several  landscapes 
in  a  neat,  spirited  style.  He  resided  some  time  in 
London,  where  he  worked  in  conjunction  with  W. 
Byrne.     The  following  are  his  chief  plates  : 

A  Landscape  ;  after  Ruysdael. 

A  View  in  Saxony ;  after  Klenyel. 

Two  Landscapes  with  animals  ;  after  the  same. 

A  Landscape,  Morning;  after  Both;  engraved  conjointly 

with  IV.  Byrne. 
A  View  of  Windsor  Castle ;  after  Hodges  ;  the  same. 
Scene  from  Oberon  ;  after  Koch. 

He  died  at  Dresden  in  1810. 

SCHUMANN,  Karl  Franz  Jakop,  painter,  bom 
at  Berlin  in  1767,  studied  first  under  Friscli,  but 
afterwards  travelled  in  Italy.  In  1801  he  was 
appointed  Professor  of  Anatomy  to  the  Berlin 
Academy.     He  died  in  1827. 

SCHUMER,  JoHANN,  a  German  engraver,  prac- 
tising at  Prague  in  the  18th  century.  He  is  known 
only  by  five  plates  of  animals. 

SCHUMWAY,  Henry  C-,  an  American  minia- 
ture painter,  born  at  Middletown,  Connecticut,  in 
1807.  He  was  educated  in  the  American  Academy 
of  Fine  Arts,  and  was  an  Academician  of  the 
National  Academy  of  Design.  Ho  commenced 
miniature  fainting  in  1829  in  New  York,  and  in 
that  city  spent  most  of  his  life.  After  a  few 
years  Ice  relinquished  painting  on  ivory  for  por- 
trait painting  in  oil,  and  executed  portrai'=  of  the 
most  notable  residents  of  New  York,  Washington, 
and  St.  Paul's.  His  best-known  picture  is  perhaps 
his  portrait  of  Henry  Clay,  which  he  painted  at 
Washington  in  1838.  He  died  in  New  York  in 
1884.  He  painted  a  few  landscapes,  but  will  be 
remembered  by  his  oil  portraits  rather  than  by 
any  other  work. 

SCHUPPEN,  H.  VAN.  This  name  (or  its  mono- 
gram, H.  V.  S.,  the  H  and  V  joined,  the  S  on  the 
bar  of  11)  appears  on  landscapes  engraved  after 
Giovanni  Maggi. 

SCHUPPEN,  Jakob  van,  (Scuppen,)  bom  in 
Paris  in  1070,  son  of  Pieter  van  Schuppen,  studied 
under  LargilUere,  whose  style  he  adopted.  His 
productions  as  a  portrait  and  historical  painter 
gained  him  a  reputation  at  Vienna,  where  he  became 
Court  painter,  and  Director  of  the  Academy  which 
he  had  helped  to  found.  Tliere  are  portraits  by 
him  in  the  Belvedere  at  Vienna,  the  Museum  at 
Amsterdam,  and  the  Liechtenstein  Gallei-y.  He 
died  at  Vienna  in  1751. 

SCHUPPEN,  PiETER  VAN,  a  Flemish  designer 
and  engraver,  was  born  at  Antwerp  in  1G23.  After 
working  for  a  time  in  his  native  city,  he  went  to 
Paris,  where  he  became  a  pupil  of  Nanteuil,  and 
hence  was  generally  known  as  '  le  petit  Nanteuil.' 
His  design  is  correct,  and  he  handled  the  burin 
with  firmness  and  dexterity.  He  engraved  por- 
traits, some  from  his  own  designs,  and  historical 
subjects  after  various  masters.  He  died  in  Paris 
in  1702.  Nagler  gives  a  list  of  119  plates  by  him  ; 
the  following  are  among  the  best : 

Louis  XIV. ;  after  C.  Le  Bntn.    1662. 

The  Cardinal  d'Este.     1662. 

The  Cardinal  de  Mazarin  ;  after  .Viynard. 

The  Chancellor  Siguier  ;  after  C.  Le  Bnin. 

Francois  Villani,  Bishop  of  Tournay  ;  after  L.  Frani;ots. 

Fran(;ois  M.  le  Tellier,  Marquis  de  Louvois  ;    after  Le 

Fibre. 
52 


Louis  le  Pelletier,  President  of  the  Parliament ;  after 

de  Laryilliere. 
Frans  Vander  Meulen,  Painter ;  after  the  same. 
The  '  Madonna  della  Sedia ' ;  after  Baphael.     1661. 
The  Holy  Family,  with  St.  John,  who  holds  a  pigeon; 

after  Seb.  Bourdon. 
The  Holy  Family ;  after  Gaspar  de  Crayer. 
St.  Sebastian,  with  an  angel  drawing  out  the  arrow; 

after  Tandycl;. 
King  David ;  after  Ph.  de  Champagne. 

Some  of  his  portraits  appeared  in  Perrault's 
'Hommes  Ilhistres.' 

SCHURAWLEW,  Thyrsus  Sergewitsch,  Rus- 
sian painter;  born  at  Saratow  in  1836  ;  studied  at 
the  St.  Petersburg  Academy.  His  best-known 
pictures  are  'Blessing  the  Bride,'  'The  Unfaithful 
Peasant,'  and  '  Home  from  the  Ball.'  He  died  at 
St.  Petersburg,  September  1901. 

SCHURIG,  Karl  Wilhelm,  bom  at  Leipsic  in 
1818,  studied  there,  and  in  Dresden  under  Bende- 
mann,  after  which  he  spent  some  time  in  Italy, 
and  then  returned  to  Dresden,  where  in  1857  he 
was  elected  Professor  to  the  Academy.  His  prin- 
cipal pictures  are  :  a  '  Resurrection,'  in  the  church 
at  Eppendorf  ;  '  Siegfried  and  Chrimhild '  ;  '  The 
Emperor  Albrecht  and  the  Swiss  Envoys '  ;  and,  in 
the  Gallery  at  Dresden,  '  The  Bishop  of  Spires  taking 
Persecuted  Jews  under  his  Protection.'  His  draw- 
ings from  the  old  masters  were  much  esteemed, 
among  them  are  : 

Madonna  di  San  Sisto  ;  after  Raphael. 
Heads  from  the  St.  Cecilia  ;  after  the  same. 
Madonna  with  Child  ;  after  Correggio. 
'  La  Notte  ' ;  after  the  same. 

He  died  at  Dresden  in  1874. 

SCHURTZ,  CoRNELins  Nicholas,  an  indifferent 
German  engraver,  who  resided  at  Nuremberg  about 
the  year  1670.  He  was  living  in  1689.  He  en- 
graved portraits  of  celebrated  physicians,  and  small 
emblematical  subjects ;  his  prints  are  marked  with 
his  name  at  full  length,  or  with  the  letters  C.  N.  S., 
sometimes  in  a  monogram. 

SCHURMANN,  Anna  Maria,  born  at  Cologne 
in  1607,  from  her  cradle  displayed  extraordinary 
talents.  She  is  said  to  have  been  able  to  read 
when  she  was  only  three  years  old,  and  at  seven 
had  made  great  proficiency  in  Latin,  which  she 
iKid  acquired  from  occasionally  overhearing  her 
brothers'  lessons  with  their  tutor.  Her  father  pro- 
cured her  the  means  of  acquiring  a  fuller  know- 
ledge of  Latin,  Greek,  and  Hebrew,  which  became 
so  familiar  to  her,  that  she  not  only  wrote  but  spoke 
them  with  fluency  and  correctness,  and  mastered 
a  great  variety  of  accomplishments  besides.  But 
her  inclusion  here  is  justified  by  her  powers  as  an 
artist.  She  painted  her  own  portrait,  and  those  of 
several  of  her  friends,  and  sculptured  several  busts, 
some  of  which  have  been  preserved.  She  etched 
and  engraved  some  plates,  among  which  is  a  portrait 
of  herself,  signed  Anna  Maria  Schurmans  an. 
cetat.  xxsiii.  clo.ia.cxL.  a.  m.  s.  fee.,  and  inscribed 
with  these  verses: 

Cernitis  hie  pictii  nostras  in  imagine  vultus : 
Si  negat  Ars  formam,  gratia  vestra  dabit. 
At  a  somewhat  advanced  age  she  embraced  the 
opinions  of  Labbada,  and  followed  him  to  Altona, 
but  after  his  death  she  returned  to  Holland,  and 
settled  at  Wiewert,  near  Leeuwarden,  where  she 
died  in  1678.  There  is  a  portrait  of  her,  by 
Lievens,  in  the  National  Gallery. 

SCHUSCHARDT,  Christian,  a  German  painter, 


PAINTERS  AND  ENGRAVERS. 


was  for   a  time   Director  of  the  Free  School  of 
Design  at  Weimar,  where  he  died  in  1870. 

SCHUSTER,  JoHANN  Martin,  born  at  Nurem- 
berg about  1667,  was  Director  of  the  Nuremberg 
Academy,  where  he  died  in  1738. 

SCHUT,  CoRNELls,  was  born  at  Antwerp  in  1697, 
and  was  a  disciple,  at  least,  of  Rubens,  although 
it  is  not  certain  what  the  exact  relation  between 
them   was.     He   painted    much    in  the  Antwerp 
churches.      Of  his  altar-pieces,  the   best   are   his 
'  Nativity '  and  '  Assumption  of  the  Virgin  '  in  the 
church   of  the  Jesuits ;  a  '  Dead  Christ,  with  the 
Virgin  and  St.  John,'  in  St.  Jacques,  which  has 
sometimes  been  mistaken  for  a  work  of  Vandyck ; 
the  '  Martyrdom  of  St.  George,'  in  the  cathedral, 
and  the  '  Martyrdom  of  St.  James,'  in  the  Museum 
at  Brussels.     He  also. painted  subjects  from  history 
and  classic  fable.     He  is  said  to  have  visited  his 
brother,    Pieter   Schut,    at   Iiladrid,    and   to  have 
painted  a  picture  on  the  staircase  of  the  imperial 
college,  representing  St.  Francis  Xavier  baptizing 
the   Indians.      Schut    frequently   painted    figures 
within  the  garlands  of  Seghers  ;  he  also  etched  a 
considerable  number  of  plates  from  his  own  designs. 
Schut  died  at  Antwerp  in  1655.     Vandyck  painted 
his  portrait  among  the  eminent  artists  of  his  country. 
SCHUT,  CoBSELis,  the  younger,  the  son  of  Peter 
Schut,  an  engineer  in  the  Spanish  service,  was  born 
at  Antwerp,  and  was  partly  instructed  by  his  uncle, 
CorneUs  Schut,  the  elder  ;  he  afterwards  went  with 
his  father  to  Spain  and  practised  at  Seville.     He 
was  one  of  the  founders  of  the  Academy  in  that 
city,  and  contributed  liberally  to  its  support.     Of 
his  ability  and  character  Bermudez  speaks  in  eulo- 
gistic terms.    Some  of  his  pictures  are  to  be  found 
at  Seville,  and  it  is  said  that  his  drawings  resemble 
those  of  Murillo,  and  frequently  pass  for  such.     He 
died  at  Seville  in  1676. 

SCHUTER.  This  man  engraved,  about  the  year 
1760,  a  portrait  of  Rembrandt,  then  in  the  collec- 
tion of  the  Marquis  Gerini,  now  no.  60  in  the  Pitti 
Gallery. 
SCHUTER,  Dan.  See  Saiter. 
SCHUTZ,  JoHANN  Georg,  painter,  born  at  Frank- 
fort in  1755,  son  and  pupil  of  Christian  Georg 
Schiitz  I.  He  went  in  1776  to  the  Academy  at 
Dtisseldorf,  and  afterwards  to  Rome.  On  his  re- 
turn he  painted  historical  and  genre  pictures  and 
landscapes.     He  died  in  1813. 

SCHUTZ,  (or  Schyz,)  Karl,  born  at  Vienna  in 
1746,  was  an  architect,  but  also  practised  drawing 
and  engraving.  In  conjunction  with  Ziegler  and 
Jantscha  he  engraved  a  series  of  views  of  Vienna, 
and,  by  himself,  various  landscapes  and  military 
scenes.     He  died  in  1800. 

SCHUTZ,  Hermann,  a  German  engraver  and 
pupil  of  Amsler.  His  most  important  work  was 
a  well-executed  series  of  sketches  after  Genelli. 
He  died  at  Munich  in  1869. 

SCHUTZ,  Christian  Georg  (I),  painter,  born  at 
Flbrsbeim,  near  Mayence,  in  1718,  went  to  Frankfort 
in  1731  to  study  under  Hugo  Schlegel,  and  also 
worked  under  Appiani.  Most  of  his  pictures  are 
landscapes,  of  which  the  figures  and  animals  were 
painted  in  by  W.  F.  Hirt,  and  afterwards  by  Pforr. 
He  died  at  Frankfurt  in  1791. 

SCHUTZ,  Christian  Georg  (II),  nephew  and 
puj^il  of  Christian  Georg  I.,  was  born  at  Flbrsbeim 
1758,  copied  first  the  works  of  his  uncle,  but  after- 
wards devoted  himself  to  painting  Rhine  scenery 
in  water-colours.  About  1789  he  became  curator 
of  the  Frankfort  Museum,  in  which   capacity  he 


fraudulently  sold  some  pictures  ascribed  to  Holbein, 
which  the  city  had  afterwards  to  re-purchase.  He 
died  in  1823. 

SCHUTZ,  Franz,  painter,  born  at  Frankfort  in 
1F61,  son  and  pupil  of  Christian  Georg  I.  He 
painted  views  in  Switzerland.  A  journey  to  Milan 
exercised  a  very  good  influence  over  bis  work.  He 
was  a  lover  of  wine,  music,  and  practical  jokes,  and 
died  at  Sacconay  in  1781. 

SCHUTZENBERGER,  Liidwig  Friedrioh, 
French  painter;  born  September  8,  1825,  at 
Strassburg  ;  became  a  pupil  of  Gleyre,  and  studied 
in  Paris  at  the  Ecoie  des  Beaux  Arts.  His 
'Terpsichore'  is  in  the  Luxembourg,  as  also  his 
'  Centaures '  ;  other  works  by  him  of  note  are 
'Europa,'  'Ariadne,'  'Souvenir  d'Alsace,'  'La 
Femme  de  Potiphar,'  '  Une  Source,'  and  'Jeanne 
d'Arc'  He  obtained  a  third-class  medal  in  1851, 
a  second-class  ditto  in  1861,  and  a  rappel  in  1863, 
receiving  the  Legion  d'Honneur  in  1870.  He 
died  in  Paris,  in  April  1903. 

SCHUYLENBURGH,  Hembryck  van,  a  Dutch 
painter,  practising  about  1647  at  Middleburg. 

SCHWABEDA,  Joiiann  Michael,  a  painter  of 
landscapes,  fiuit,  and  flowers,  was  born  at  Erfurt 
in  1734.  He  began  life  as  a  modeller  in  wax,  but 
abandoned  this  for  painting.  In  1760  he  was  ap- 
pointed Court  painter  at  Anspach,  where  he  died  in 
1794. 

SCH WACH,  Heinrich  August,  German  painter; 
born  September  19,  1829,  at  Neutitschien,  Moravia  ; 
studied  at  the  Vienna  Academy  under  Waldmiiller 
and  Rahl  ;  completed  his  art  studies  by  travel  in 
Belgium,  where,  at  Antwerp,  he  worked  with 
Dykman  ;  painted  historical  subjects,  battle-pieces, 
and  portraits,  though  in  Austria  liis  work  as  the 
restorer  of  old  pictures  will  best  be  remembered. 
He  died  in  1903. 
SCHWALBE,  Orest.  See  Kiprensky. 
SCHWANFELDEH,  Charles  Henry,  animal 
painter,  born  at  Leeds  in  1773,  where  he  chiefly 
practised.  He  painted  animals,  landscapes,  and 
occasionally  portraits.  He  was  appointed  animal 
painter  to  George  III.,  and  afterwards  to  the 
Prince  Regent.     He  died  in  1837. 

SCHWARTZ,  a  German  engraver,  who  resided 
at  Nuremberg  about  the  year  1626.  He  engraved 
portraits  and  a  soriesof  plates  for  'Icones  Bibliopo- 
larum  et  Typographorum,'  published  at  Nuremberg 
in  the  year  above  mentioned. 
SCHWARTZ,  Jan.  See  Swart. 
SCHWARTZ,  G.,  a  military  painter,  practising 
at  Petersburg,  was  born  at  Berlin  in  1800,  but 
entered  the  service  of  the  Russian  court  and  settled 
in  Russia  in  1830.  Several  of  his  battle-pieces  are 
in  the  old  royal  Schloss  at  Berlin. 

SCHWARTZ,  Michael,  painter,  an  imitator  _of 
Diirer,  who  flourished  at  the  beginning  of  the  16th 
century,  and  in  1512  executed  an  altar-piece  for  St. 
Mary's  Church  at  Dantzio,  with  scenes  from  the 
life  of  the  Virgin  and  the  Passion  of  Christ. 

SCHWARTZENBERG,  Melchior,  was  an  en- 
graver on  wood,  who  cut  some  frontispieces  for 
Feyeraband  the  bookseller.  He  worked  from 
about  1530  to  about  1550. 

SCHWARZ,  Christoph,  was  born  at  Ingolstadt 
in  1550,  and  became  the  pupil  of  Bocksperger,  ni 
Munich.  He  afterwards  entered  the  school  of 
Titian,  and  after  passing  some  years  at  Venice  he 
returned  to  Munich,  where  he  was  appointed  painter 
to  the  court,  and  where  he  resided  for  the  remainder 
of  his  life .     He  painted  many  pictures  for  the  public 

DO 


A  BIOGRAPHICAL  DICTIONARY  OF 


Brunswick. 
Iiandshut. 

Munich. 


buildings  of  Munich,  and  for  the  Elector.     Several 
of    these   have   been   engraved    by  Jan   Sadeler. 
Schwartz  died  at  Munich  about  1697. 
Gallery.    A  Fine  Portrait. 
'kr;-^f'}T»ieCnici&don. 

Pinakothek.     St.  Catlierine. 

»  „  St.  Jerome  before  a  Crucifix. 

»  ,,  The  Madonna  Entiironed  upon 

Clouds, 

»  n  The  Artist's  Family. 

SCHWARZ,  Hans,  historical  and  portrait 
painter  of  the  16th  century,  was  bom  at  Oettingen, 
in  Suabia.  In  1520  he  was  at  Antwerp,  and  later 
made  the  acquaintance  of  Diirer,  whose  portrait 
he  painted  at  the  liou.se  of  the  Fug-gers.  In  1540 
he  married  the  widow  of  Hans  Leonhard  Scliaufelin. 
SCHWARZ,  Martin,  living  in  tlie  last  piirt 
of  the  15th  century,  was  a  native  of  Rothonburg. 
His  pictures  are  sometimes  attributed  to  Martin 
Schongauer.  His  principal  works  are  :  a  '  Christ 
on  the  Cross '  in  the  church  of  Schwabach,  near 
Nuremberg ;  an  altar-picture  for  the  Dominican 
church  at  Rothenburg,  where  he  lived  as  a 
lay  member,  comprising  'The  AngeUc  Salutation,' 
'  The  OJIering  of  the  Three  Kings,'  '  The  Death  of 
Mary,'  'The  Burial  of  Christ,' and  '  The  Virgin  and 
Child.'     These  are  now  dispersed. 

SCHWARZ,  Paul  Wolfgang,  an  engraver,  born 
at  Nuremberg  in  1760,  studied  at  Basle  under 
Mechel,  and  became  in  1789  court  engraver  to  the 
Duke  of  Sachsen-Coburg-Saalfeld.  He  died  in 
1815. 

SCHWARZENBURG,  Princess  PAnuNE  von, 
born  September  2,  1774,  etched  sixteen  views  of 
her  estates  in  Bohemia,  published  in  1814  and  1815, 
and  other  plates. 

SCH  WAZ,  Hans  von,  a  Tyrolese  portrait  painter 
of  the  16th  century,  whose  works  have  been 
ascribed  to  Holbein,  Amberger,  Schiiufelein,  Strigel 
and  others.  Nothing  is  known  of  his  history,  but 
according  to  certain  documentary  notices  he  was 
in  the  service  of  the  Emperor  Maximilian  as  his 
portrait  painter  in  1500  and  1510,  and  he  appears 
also  to  liave  been  the  favourite  painter  of  the 
Emperor's  grandson,  the  Archduke  Ferdinand, 
when  he  was  in  the  Tyrol,  and  of  the  powerful 
Augsburg  family  of  the  Fuggers.  A  member  of 
this  family  lived  at  Schwaz,  near  Innsbruck,  wliere 
his  tomb  may  still  be  seen,  and  was  the  patron 
of  Hans  the  painter.  In  all  records  at  present 
known  relating  to  this  artist  he  is  always  called 
"  Maler  zu  Schwuz,"  but  his  surname  is  unknown. 
Judging  from  his  works  it  is  to  be  assumed  that 
he  was  taught  either  at  Ulm  or  Memmingen,  and 
was  connected  with  Strigel  or  Zeitblom.  His 
principal  works,  according  to  Herr  Friedliinder, 
wlio  has  made  a  special  study  of  this  painter,  are 
the  following  ; 

Augsburg.  Coll.  of\ 

Prince  Fvgc/er  Bahen-  VPortraitof  UlrichFugger,  1525. 
haxtsiin.} 

Gallery.     Portrait  of  an  unknown  man, 
dated  1519. 
„  Portrait    of    Joachim    Eehle, 

1524. 
Uffizi.  Portrait  of  the  Archduke 
FeriUnand,  brotlier  of  Cliarles 
v.,  of  1524  or  1525.  ^Vnotlier 
portrait  of  the  same  at  Rovigo 
is  probably  by  this  painter, 
though  both  these  works  are 
siscribed  to  Strigel  by  some 
critics. 


Dresden, 


Florence, 


64 


London.      Bridgewater )  Portrait  of  a   man   with  the 
House.}      monogram  H.  M.  and  below 
M.  z.  s.,  1523,  which  is  inter- 
preted as  "  Maler  zu  Schwaz." 
Formerly  as  "  Melancthon  by 
Holbein." 
Paris.         Private  Coll.    Portrait  of  Matthaiis  Schwarz, 
grandson  of  Ulrich  Schwarz, 
Burgomaster    of    Augsburg 
and  agent  of  the  Fuggers  at 
Schwaz.     On   the   picture   is 
an   inscription  stating    that 
the  portrait  was  painted  at 
Schwaz.     Dated  1526. 
Rome,  MuseoNazionale.    Portrait  of  Wolfgang  Tauvelder, 
1524.     Formerly  ascribed  to 
Holbein. 
Rovereto.  Portrait  of  a  man, 

Vienna,  Portrait   of   Moritz  Weltzr  of 

Eberstein,  1524. 
Worlitz,         Gothisches  )  Portrait  of  the  Archduke  Fer- 
Ilaus.  J      dinand  (afterwards   King  of 
Hungary  and  Bohemia), dated 
1521. 
t,  „         Portrait  of  Anna,  wife  of  Fer- 

dinand, 1523.  Both  ascribed 
to  Burckmair.  RepUcas  of 
these  portraits  were  sold  at 
Munich  in  1893. 
Other  works  at  Berlin  (private  coll.),  Darmstadt, 
Mannheim,  Weimar  and  elsewhere.  C.  J.  Ff. 

SCHWED,  R.,  a  painter  who  flourished  in  the 
16th  century  at  Bamberg,  and  with  Georg  Glaser 
executed  a  series  of  wall  paintings  in  the  Carmelite 
cloister,  Frankfort.  Copies  are  in  the  Stiidel  Museum. 
SCHWEGMAN,  Hendrik,  a  flower  painter  and 
engraver,  was  born  at  Haarlem  in  1761,  and  studied 
under  P.  van  Loo.  He  engraved  and  coloured  the 
prints  for  a  work  entitled  '  Icones  Plantamm  rari- 
orum' ;  he  also  etched  several  landscapes  after  E. 
van  Drielst  and  others,  in  the  manner  of  Anthonie 
Waterloo.     He  died  at  Haarlem  in  1816. 

SCHWEICH,  C.\RL,  German  painter;  born 
December  6,  182.3,  at  Dusseldorf;  studied  at 
Darmstadt  with  Lucas  and  Seeger  ;  also  at  Munich 
under  Rottmann,  ,ind  at  Antwerp  with  Dyckmans 
and  Wappers.  He  settled  at  Ditsseldorf  as  a 
painter  of  Bavarian  landscapes,  though  in  some 
portraits  he  showed  notable  capacity.  The  Darm- 
stadt Gallery  possesses  his  '  Herbstmorgen,'  He 
died  at  Diisseldorf,  April  23,  1898. 

SOHWEICKART,  Johann  Adam,  engraver,  born 
at  Nuremberg  iu  1722,  studied  under  Preissler,  and 
in  Italy.  He  lived  eighteen  years  in  Florence, 
where  he  engraved  several  of  the  gems  in  the 
collection  published  by  Stosch.  On  his  return  to 
Germany  he  produced  many  plates  after  the  old 
masters,  and  won  some  reputation  by  his  engravings 
from  washed  drawings.     He  died  iu  1787. 

SCHWEICKHARDT,  Heineich  Wilhelm, 
painter,  was  born  at  Br,andenl)urg  in  1746.  He 
studied  under  Girolamo  Lapis,  and  settling  in  the 
Hague,  became  Director  of  the  Academy.  In  1786, 
in  consequence  of  the  disturbances  in  Holland,  he 
came  to  England,  and  resided  in  London  for  several 
years.  He  painted  landscapes  and  cattle,  par- 
ticularly frost-pieces,  and  etched  a  set  of  plates  of 
animals,  which  he  dedicated  to  Mr.  West  in  1788. 
He  died  in  London  in  1797. 

SCHWEIZER,  Johann,  was  a  native  of  Heidel- 
berg, and  flourished  about  the  year  1660.  He 
worked  for  the  booksellers.  He  engraved  the 
frontispiece  and  plates  for  '  Parnassus  Heidelber- 
gensis,  omnium  ilhistrissimjB  hujus  academise  pro- 
fessorum  icones  exliibens,'  some  of  which  are  from 
his  own  drawings.     Schweizer  died  in  1679. 


PAINTERS   AND  ENGRAVERS. 


SCHWENDY,  Albert,  German  painter  ;  born 
October  20,  1820,  at  Berlin,  where  he  studied 
under  Biermann,  besides  becoming  a  pupil  of 
Necker  at  Munich,  and  of  E.  Lepoittevin  in  Paris. 
From  1848  to  1855  he  resided  at  Berlin,  and  after 
some  years  spent  at  Munich  he  accepted  the  post 
of  Professor  at  Dessau.  He  mainly  chose  archi- 
tectural subjects,  views  of  market-places,  and  the 
exteriors  and  interiors  of  cathedrals.  He  died  in 
1903. 

SCHWERDGEBURTH,  Amalie  Charlotte, 
sister  of  Karl  Schwerdgeburth  the  engraver,  was 
born  at  Dresden  in  1795,  and  went  early  with  her 
father  to  Dessau,  where  and  at  Weimar  she  received 
her  training  in  art.  In  1822  she  returned  to  Dres- 
den, and  made  a  name  by  her  copies.  She  died  at 
Dresden  in  1831. 

SCHWERDGEBURTH,  Karl  August,  en- 
graver, was  born  at  Gera  in  1785,  and  became  a 
pupil  of  the  Dresden  Academy.  He  engraved  a 
few  portraits,  among  them  those  of  the  Grand 
Duchess  Maria  Paulowna,  the  Grand  Duke  of 
Weimar,  and  Goethe.  He  also  painted  a  '  Luther 
at  the  Diet  of  Worms.'    He  died  at  Dresden  in  1878. 

SCHWERDGEBURTH,  Otto,  son  of  Karl 
Schwerdgeburth,  born  at  Weimar  in  1835  (1837), 
Btudied  first  under  his  father,  and  then  under 
Preller.  In  1856  he  went  to  Antwerp,  where  he 
painted  in  the  Town-hall  and  the  church  of  St. 
Nicolas.  In  1860  he  returned  to  Weimar,  where 
he  died  in  1866. 

SCHWIND,  MoRiTZ  LuDwiQ,  Ritter  von,  his- 
torical painter,  born  at  Vienna  in  1804,  attended  the 
Viennese  Academy  up  to  1819,  and  worked  under 
Ludwig  Sohnorr.  In  1828  he  went  to  Munich,  where 
ho  painted  twenty-nine  frescoes  from  Tieok's  poems, 
in  the  palace.  From  1840-4-1  be  hvedin  Carlsruhe, 
and  painted  a  wall  picture  in  the  Gallery.  Between 
1853-55  he  painted  at  the  Wartburg  a  series  of 
■  pictures  from  the  life  of  St.  Elizabeth.  In  1859 
he  designed  thirty-four  windows  for  Glasgow 
Cathedral.  Other  works  by  him  are  an  altar-piece 
for  the  Frauenkirche,  Munich,  frescoes  for  the 
Pfarrkirche,  Munich,  the  Loggia  decoration,  the 
Viennese  Opera  House,  '  The  Symphony,'  a  quad- 
ruple picture  in  the  Munich  New  Pinakothek. 
Schwind  died  at  Munich  in  1871. 

SCHWITER,  Ludwig  August  Baron  von, 
German  painter ;  born  in  1809,  at  Menburg  (Han- 
over) ;  studied  in  Paris,  which  eventually  became 
his  home,  and  where  for  over  forty  years  he 
worked.  He  was  well  known  at  one  time  as  a 
successful  portrait-painter,  and  he  also  worked  at 
landscapes  and  genre  ;  obtained  a  third-class  medal 
in  1846.     He  died  in  Paris  in  September  1865. 

SCHWOISER,  Eduard,  German  painter;  born 
March  18,  1827,  at  Briisan,  Moravia ;  began  life  as 
an  artisan,  but  studied  at  the  Munich  Academy  ; 
completed  his  art  education  by  study  in  England, 
France,  Italy,  the  Netheriands,  and  Spain ;  accepted 
a  professorship  at  Munich,  where  he  resided 
permanently.  His  best-known  works  include : 
'Tumier  auf  dem  Marienplatz,'  'Kaiser  Heinrich 
IV.  at  Canossa,'  '  Geburt  der  Aurora,'  '  Gotter- 
morgen,'  &c.  He  also  executed  several  important 
frescoes.  He  was  the  recipient  of  several  Orders 
and  decorations.     He  died  in  September  1902. 

SCHYNDAL,  (or  Sohendel,)  Bernard,  born 
at  Haerlem  in  1634,  was  a  scholar  of  Hendrik 
Mommers.  He  painted  assemblies  of  peasants 
merry-making,  in  the  style  of  J.  M.  Molenaer.  He 
treated  those  subjects  with  considerable  humour, 


and  his  pictures  are  ingeniously  composed.  He 
died  in  1693. 

SCHYNVOET,  Jakob,  a  Dutch  engraver,  who 
resided  in  London  about  the  year  1700.  He  en- 
graved some  bird's-eye  views  of  country  houses, 
from  his  own  designs,  in  a  style  resembling  that 
of  John  Kip.  He  is  supposed  to  have  worked  aa 
late  as  1727. 

SCIACCA,  ToJiMASO,  a  Sicilian  artist,  a  native  of 
Mazzara,  born  about  1734.  He  worked  at  Rome 
with  the  Cavalucci,  and  painted  some  large 
compositions  for  churches  at  Rovigo. 

8CIAMER0NI,  Lo.    See  Fcrini,  Francesco. 

SCIAMINOSSI,  Raphael.    See  Scaminossi. 

SGIARPELLONI,  Lorenzo.    See  Credi  di. 

SCILLA,  (or  Silla,)  Agostino,  born  at  Messina 
in  1639,  was  a  scholar  of  Antonio  Ricci,  called  II 
Barbalunga.  Such  was  the  promise  he  evinced, 
that  Barbalunga  prevailed  on  the  senate  to  settle  a 
pension  on  him,  to  enable  him  to  pursue  his  studies 
at  Rome,  where  he  frequented  the  school  of  Andrea 
Sacchi.  After  a  residence  of  four  years  at  Rome, 
he  returned  to  Messina,  and  established  an  academy, 
which  was  much  frequented  until  the  political 
troubles  of  1674  obliged  him  to  fly  to  Rome.  He 
excelled  in  painting  the  heads  of  old  men  ;  while 
the  landscapes  and  animals  in  his  pictures  are  very- 
true  to  nature.  He  died  at  Rome  in  1700.  In 
some  of  his  works  he  was  assisted  by  his  brotlier 
Giacinto,  a  good  artist,  who  lived  till  about  1711. 
Agostino  had  a  son,  Saverio,  who  was  also  a 
painter. 

SCIPIONE  DI  GAETA.     See  Pulzone. 

SCIORINI,  (or  Della  Sciorina,)  Lorenzo,  an 
Italian  painter  of  the  16th  century,  a  native  of 
Florence,  was  a  pupil  of  Bronzino.  He  was  one 
of  the  artists  employed  to  decorate  Michelangelo's 
catafalque. 

SCITIVAUX  DE  GREYSCHE,  Roger  db,  born 
at  Nancy  in  1830,  was  a  pupil  of  Couture.  Be- 
tween 1857  and  1865  he  exhibited  portraits  and 
genre  pictures  at  the  Salon.  He  died  in  1870  in 
Paris. 

SCOENERE,  Jan,  (or  de  Scoenere,)  a  Flemish 
painter  of  the  15th  century,  who  had  an  atelier  for 
pupils  at  Ghent.  He  is  thought  to  have  been  a 
pupil  of  the  Van  Eycks.  In  1443  he  painted  an 
altar-piece  in  collaboration  with  Baldwin  van 
Wytevelde. 

SCOLARI,  Giuseppe,  was  a  native  of  Vicenza, 
and  flourished  about  the  year  1580.  He  was  a 
disciple  of  Giovanni  Battista  Maganza.  He  painted 
history  both  in  oil  and  in  fresco  ;  and  there  are 
many  of  his  works  in  the  churches  of  Vicenza, 
Verona,  and  Venice.  According  to  Papillon,  he 
executed  several  wood-cuts,  among  them  the 
following : 

The  Entombment. 

The  Dead  Christ,  with  the  Virgin  Mary. 

St.  Jerome  holding  a  Crucifix. 

The  Rape  of  Proserpine. 

SCOLES,  Joseph  John.  This  clever  draughts- 
man was  born  in  1798,  and  was  from  his  earliest 
days  much  interested  in  mediaaval  ecclesiastical 
architecture.  He  was  a  CathoUc,  and  came  under 
the  influence  of  Dr.  John  Milner,  who  was  struck 
by  the  beauty  of  many  of  his  drawings  of  ancient 
vestments.  The  bishop  recommended^  Mr.  Joseph 
Ireland,  a  distant  cousin,  to  take  him  into  his 
office,  and  he  also  interested  Dr.  John  Lee  in  the 
young  man,  and  did  his  best  to  push  him  forward. 

55 


A  BIOGRAPHICAL  DICTIONARY   OF 


At  Hartwell  House,  Scoles  met  Joseph  Bonomi, 
who  was  80  attracted  by  him  that  he  begged  for 
his  company  in  an  arch«ological  trip  he  was 
taking  to  Greece  and  Syria.  While  there  lie  made 
many  excellent  drawings,  especially  of  Jerusalem 
and  of  buildings  at  Athens.  After  his  return  home 
in  1826  he  commenced  work  as  an  architect,  and 
Gloucester  Terrace,  Regent's  Park,  owes  very 
much  of  its  dignity  to  his  work  rather  than  to 
John  Nash,  who  prepared  the  first  sketch  for  the 
houses.  He  was  greatly  in  demand  amongst  his 
co-rehgionists  for  architectural  work,  and  the  great 
church  at  Farm  Street  and  the  Oratory  at  Brompton 
are  monuments  of  his  skill.  He  also  designed 
many  other  similar  churches  and  some  private 
and  college  chapels.  He  wrote  several  essays  on 
Egypt  and  the  Holy  Land,  and  contributed  several 
architectural  articles  to  various  societies  to  which 
he  belonged,  in  some  cases  illustrating  them  by 
his  own  pencil.  He  died  in  1863,  and  a  full  list 
of  his  architectural  works  appears  in  the 
'  Dictionary  of  National  Biography.' 

SCOPPA,  Orazio,  an  Italian  engraver,  who 
flourished  at  Naples  about  the  year  1642,  and  was 
probably  a  goldsmith.  He  engraved  a  set  of  fifteen 
designs  for  chalices,  crosiers,  and  other  ecclesi- 
astical ornaments. 

SCOP  ULA,  Giovanni  Maria,  an  Itahan  painter 
of  the  13th  century,  a  native  of  Irunto.  His  only 
recorded  work  is  a  triptych  in  the  Campana  Col- 
lection, in  the  Louvre,  the  three  subjects  being, 
'  The  Annunciation,'  '  The  Visitation,'  and  '  The  Na- 
tivity.' It  bears  the  following  inscription :  Joanes 
Maria  Scojtula  de  Irunto  piiixit  in  Otranlo. 

SCORE,  W.,  portrait  painter,  a  native  of  Devon- 
shire, pupil  and  drapery  painter  to  Sir  Joshua 
Reynolds,  who  exhibited  portraits  at  the  Academy 
from  1781  to  1794. 

SCOREL,  John  van,  painter,  was  born  at  Scorel, 
a  small  town  near  Alkmaar,  August  1,  1495.  At 
the  age  of  fourteen  he  was  placed  for  three  years 
under  the  tuition  of  an  obscure  artist,  named 
Cornelius  Willems,  in  Haarlem.  In  1512  he  went 
to  Amsterdam,  where  he  became  a  disciple  of  James 
Cornelisz.  The  reputation  of  John  Gossart,  who 
was  at  that  time  in  the  service  of  Philip  of  Bur- 
gundy, induced  Scorel  to  visit  Utrecht.  He  after- 
wards went  to  Cologne  and  thence  to  Spires,  where 
he  passed  some  time  studying  architecture  and 
perspective,  then  he  visited  Strassburg,  Basel,  and 
Nuremberg,  where  he  resided  with  Albert  Diirer, 
who  treated  him  with  great  kindness.  Then  he 
travelled  to  Styria  and  Carintbia,  making  a  long 
stay  at  Ober- vellacb,  in  1520.  His  next  journey  was 
to  Venice,  where  he  found  a  number  of  people 
assembled  for  a  pilgrimage  to  Palestine,  among 
them  an  ecclesiastic  of  Gouda,  by  whom  he  was 
persuaded  to  join  the  party.  On  his  arrival  at 
Jerusalem  he  became  acquainted  with  the  superior 
of  the  monastery  of  Sion,  by  wliom  he  was  shown 
the  most  interesting  sites  in  the  city  and  vicinity, 
of  which  he  made  accurate  drawings.  He  painted 
for  the  convent  a  picture  representing  the  '  In- 
credulity of  St.  Thomas  ' ;  on  his  way  back  he 
visited  the  Isle  of  Rhodes,  where  he  was  received 
with  distinction  by  the  grand  master,  who  was  a 
native  of  Germany,  and  painted  views  of  the  city 
and  fortress.  From  thence  he  sailed  for  Venice, 
and  afterwards  visited  Rome,  where  he  was  em- 
ployed by  Pope  Adrian  VI.,  who  was  a  native  of 
Utrecht.  He  painted  a  whole-length  portrait  of 
the  Pope  ;  this  was  sent  to  the  college  of  Louvain, 

66 


which  had  been  founded  by  his  Holiness.  After 
his  death,  September  14,  1523,  Scorel  returned  to 
Utrecht,  and  lived  with  Herman  van  Lochorst, 
dean  of  the  old  Minster,  for  whom  he  painted  one 
of  his  best  pictures,  'Christ's  Entry  into  Jerusalem,' 
which  was  placed  in  a  chapel  of  the  cathedral. 
During  the  war  with  Guelders  he  was  at  Haarlem, 
where  he  painted  for  the  monastery  of  St.  John  a 
'  Baptism  of  Christ,'  in  which  he  imitated  Raphael. 
Many  of  the  principal  works  of  Scorel  were 
destroyed  during  the  troubles  in  the  Low  Countries. 
In  1524  he  was  ordained,  and  was  at  first  vicar  of 
St.  John's,  1525,  and  canon  of  St.  Mary's  in  1528. 
He  died  at  Utrecht,  December  6, 1562.  The  'Death 
of  the  Virgin '  at  Munich,  is  thought  by  many 
critics  to  be  an  early  work  of  Scorel's. 


Amsterdam.  R. Museum. 
Dresden.  Gallery. 


Haarlem. 


Musetim. 


Hampton  Court. 
London.         Kat.  Gall. 

»»  ,, 

Ober-vellach,  I  Church. 
Carintbia.  J 


Prague.        Sudoljinum. 


Kome. 


Pal.  Doria. 


Kotterdam.       Museum. 
Utrecht.  Museum. 


uiO 
r-  J 


Warmenbui-"] 

zen,  near    y-  Church, 
Alkmaar. 


A  Magdalen. 

David  conquering  Goliath 
(given  in  catalogue  to  Bron- 
zino). 

Adam  and  Eve. 

Baptism  of  Christ. 

Our  Lady  and  Child. 

A  Riposo. 

Portrait  of  a  Lady. 

Triptych  :  The  Family  of  St. 
Anne  ;  SS.  Christopher  and 
Apollonia  ;  signed  and  dated 
1520. 

Triptych:  Adoration  of  the 
Magi ;  donor  and  family  pro- 
tected by  SS.  Jerome  and 
Lucy  ;  outside,  St.  Anne  and 
St.  Katherine. 

Portrait  of  Agatha  van  Schoen- 
hoven.     1529. 

Portrait  of  a  Boy. 

A  Madonna. 

Four  Portraits,  one  of  himself. 

A  Series  of  Pictures  in  tempera. 
\r.  II.  J;  W. 


SCORODOMOFF,  Gabriel,  (Scroddomoff,)  a 
draughtsman  and  engraver,  was  bom  at  St.  Peters- 
burg about  1748,  but  came  to  England  when  young 
and  studied  under  Bartolozzi,  whose  manner  he 
itnitated.  It  is  said  that  he  was  the  first  Russian 
to  obtain  a  reputation  as  an  engraver.  He  lived 
in  London  from  1775  to  1782,  and  engraved 
after  Reynolds,  West,  Hamilton,  and  Angelica 
Kauffman,  also  a  portrait  of  Mrs.  De  Louther- 
bourg  from  his  own  design.  He  engraved  a  por- 
trait of  the  Empress  Catherine  II.,  after  F.  RocotofF, 
probably  after  his  return  to  St.  Petersburg,  where 
he  died  in  1792. 

SCORZA,  Sinibaldo,  bom  at  Voltaggio,  near 
Genoa,  in  1589,  was  a  scholar  of  Giovanni  Battista 
Paggi.  He  painted  landscapes,  with  well-com- 
posed groups  of  figures  and  animals,  and  copied 
with  the  pen  some  of  Albrecht  Durer's  prints.  He 
died  in  1631. 

SCORZINI,  PiETRO,  an  Italian  painter  of  the 
18th  century,  who  studied  at  Bologna,  and  practised 
as  a  scene  painter  at  Lucca. 

SCOTIN,  Gerard,  the  elder,  a  French  engraver, 
born  at  Gonesse,  near  Paris,  in  1642.  He  was  a 
pupil  of  Francois  Poilly,  the  elder,  whose  style  he 
imitated.     Among  his  prints  we  may  name : 

The  Marriage  of  St.  Catherine ;  after  Aless.  Veronete. 

The  Communion  of  the  Magdalene ;  after  Domenichirw. 

The  Circumcision ;  after  P.  Mignard. 

The  Baptism  of  Christ ;  after  the  same. 

The  Presentation  in  the  Temple ;  after  C.  Le  Brun. 

The  Country  Life ;  after  Dom.  Feti. 

He  died  in  1715. 


JOHN  VAN   SCOREL 


HanfiliingI pholo\  [Berlin  Cillery 

PORTRAIT  OF  CORNELLS  AI'.KNTSZ  VAN   DEK  DUSSEN 


PAINTERS  AND  ENGRAVERS. 


SCOTIN,  Jean  BArnsxE,  said  to  be  the  son  of 
the  elder  Gerard,  flourished  in  Paris  in  the  first 
half  of  the  ISt^  century.  He  engraved  after  H. 
Rigaud.  Boucher,  Watteau,  Lancret,  Pater,  and 
other  French  painters.  Some  of  his  prints  are 
dated  as  early  as  1710. 

SCOTIN,  Louis  Gerard,  the  younger,  the  nephew 
of  Gerard  Scotin,  was  bom  in  Paris  in  1690,  and 
taught  by  his  uncle.  He  came  to  London  about 
1733,  to  help  in  the  plates  for  a  translation  of 
Picart's  'Religious  Ceremonies.'  In  1745  he  en- 
graved two  of  the  six  plates  of  the  '  Marriage  a  la 
!Mode,'  for  Hogarth,  and  several  plates  after  Frank 
Hayman.     We  have  also  by  him  : 

The  Birth  of  Adonis ;  after  Boxtcher. 
Belisarius  ;   after  Vairdyck. 
And  a  few  more. 

SCOTNIKOFF,  Egor  (Georg),  an  engraver,  wlio 
flourished  at  the  end  of  the  18th  century,  was  a 
pupil  and  member  of  the  St.  Petersburg  Academy, 
where  he  studied  under  Klauber.  He  engraved  a 
'  Christ  on  the  Cross,'  after  Lebrun. 

SCOTT,  David,  a  Scottish  historical  painter,  born 
at  Edinburgh  in  1806,  son  of  the  engraver  Robert 
Scott,  first  drew  and  engraved  a  series  of  designs, 
after  Stothard,  for  Thomson's  '  Scottish  Melodies,' 
and  then  commenced  painting.  He  produced  in 
1828,  '  The  Hopes  of  Early  Genius  dispelled  by 
Death.'  He  became  an  Associate  of  the  Scotch 
Academy  in  1830.  In  1832  he  went  to  Italy,  and 
on  return  was  elected  a  Scottish  Academician.  He 
sent  pictures  to  the  Westminster  Hall  competitions 
of  1842  and  1844,  but  without  success,  a  failure 
that  caused  him  deep  disappointment.  He  died  in 
1849.  David  Scott's  imagination  was  active  and 
poetic,  but  scarcely  of  the  kind  that  finds  its  right 
vehicle  in  paint.  He  was  a  good  colourist,  and  an 
expressive  rather  than  correct  draughtsman.  The 
following  list  comprises  his  best  works. 

Ariel  and  Caliban.     (Scot.  Nat.  Gallery) 

A  Vintager.     {Do.) 

Paracelsus  lectiuring. 

Peter  the  Hermit. 

Vasco  de  Gama  meeting  the  Spirit  of  the  Cape.  (Trinity 

House,  Leith.) 
Orestes  and  tile  Furies. 
The  Dead  Rising. 
Achilles  Mourning  Patroclus. 

He  also  published  several  series  of  designs  in 
outline : 

'  Monograms  of  Man.'     1S31. 
'  The  Ancient  Mariner.'     1837. 

Illustrations  to  the  '  Architecture  of  the  Heavens,'  by- 
Prof.  Nichols.     1848. 
Illustrations  to  the  '  Pilgrim's  Progress,'  pubUshed  after 
his  death. 

Mr.  W.  B.  Scott  published  a  memoir  of  his 
brother,  David  Scott,  in  1850. 

SCOTT,  Edmund,  engraver,  born  in  London  about 
1746,  was  a  pupil  of  Bartolozzi.  He  engraved  a 
portrait  of  the  Prince  of  Wales,  by  himself,  and 
several  subjects  after  Slorhind,  Stothard,  and  Ram- 
berg.     He  died  about  1810. 

SCOTT,  Sir  G.  Gilbert.  This  is  not  the  place 
to  give  a  full  account  of  the  architectural  work  of 
this  eminent  man,  nor  to  refer  to  the  various 
restorations — so-called — with  which  he  was  con- 
cerned. It  may  suffice  with  regard  to  the  latter 
phase  of  his  work  to  declare  that  the  Society  for 
the  Protection  of  Ancient  Buildings  was  formed  in 
direct  antagonism  to  the  practice  of  restoration  for 
which  Sir  G.  Scott  was  specially  well  known,  and 
this  Society,  frequently  known  as  the  Anti-Scrape 


Society,  has  from  its  beginning  taken  up  a  position 
of  distinct  antagonism  to  the  energetic  renovation 
associated  with  the  name  of  Sir  Gilbert  Scott.  For 
a  record  of  his  work,  the  reader  should  be  referred 
to  the '  Recollections '  that  appeared  in  the  'Builder ' 
Qnd  '  Building  News '  for  1878,  and  to  the  excellent 
memoir  in  the  '  Dictionary  of  National  Biography,' 
but  it  is  well  that  so  expert  a  sketcher  as  was  Scott 
should  have  some  notice  in  this  volume.  He  was 
born  in  1811,  the  son  of  the  curate  of  Gawcott, 
and  the  grandson  of  Scott  the  manufacturer.  He 
inherited  his  love  of  architecture  from  his  father, 
and  commenced  his  training  in  the  office  of  James 
Edmeston,  afterwards  being  attached  to  the  firm 
of  Peto  ife  Sons,  and  started  on  his  own  account  in 
1834.  His  sketch-books  are  full  of  delightful 
drawings,  not  only  of  the  buildings  with  which  he 
was  specially  concerned,  but  with  architectural 
work  all  over  Europe,  especially  in  Germany,  and 
in  some  cases  his  most  elaborate  drawings  recall  the 
work  of  Prout  for  their  wealth  of  exquisite  detail. 
He  is  said  at  one  time  for  amusement's  sake  to 
have  painted  a  portrait.  He  died  in  his  own  house 
in  London  in  1877,  leaving  behind  him  five  sons, 
two  of  whom  followed  in  his  profession. 

SCOTT,  John,  an  eminent  engraver  of  animals, 
particularly  of  horses  and  dogs,  was  born  at  New- 
castle in  1774,  where  he  served  his  apprenticeship 
to  a  tallow-chandler.  At  the  expiration  of  his  time 
he  engraved  a  series  of  profile  portraits  for  Angus's 
'  French  Revolution,'  and  then  came  to  London, 
where  his  friend  Pollard,  a  Newcastle  man,  gave 
him  lessons  in  drawing  and  engraving.  Scott's 
name  is  to  be  found  in  the  publications  of  Tresham 
and  Ottley,  in  Britten's  'Cathedral  Antiquities,' 
Westall's  'Illustrations  of  the  Book  of  Common 
Prayer,'  &c.  ;  but  it  is  in  the  'Sportsman's  Cabinet,' 
■Daniel's  Rural  Sports,'  and  a 'Series  of  Horses 
and  Dogs,'  that  he  excels,  as  an  engraver  of 
animals,  all  the  Englishmen  who  had  preceded 
him.  Some  of  his  detached  pieces  are  of  great  ex- 
cellence, particularly  '  Breaking  Cover,'  after  Philip 
Reinagle  ;  'The  Death  of  the  Fox,'  after  Sawrey 
Gilpin  ;  'Warwick,  a  Famous  Racer,' after  Abraham 
Cooper;  and  a  few  landscapes,  after  Weenix, 
Gainsborough,  Callcott,  and  others.  He  died  at 
Chelsea  in  1828. 

SCOTT,  John  Henderson,  water-colour  painter, 
the  son  of  William  Henry  Scott,  born  February  10, 
1829,  practised  at  Brighton,  where  he  had  a  great 
local  reputation  as  a  teacher,  and  was  an  active 
member  of  the  Brighton  Fine  Arts'  Society.  He 
was  an  occasional  exhibitor  at  the  London  Water- 
Colour  Galleries,  and  at  the  chief  provincial  exhibi- 
tions, but  reserved  his  work  more  especially  for  the 
Brighton  Picture  Gallery.  He  painted  views  of 
Sussex  scenery,  views  in  Normandy,  &c.  He  died 
at  Brighton,  December  6,  1886. 

SCOTT,  Maria,  the  sister  of  William  Henry 
Scott,  was  a  water-colour  painter,  who  practised 
at  Brighton.  She  became  a  member  of  the  Water- 
Colour  Society  in  1823,  and  was  an  industrious 
exhibitor  of  fruit  and  flower  pieces,  both  under  her 
maiden  name,  and  after  her  marriage  in  1830,  as 
Mrs.  Brooksbank. 

SCOTT,  Robert,  the  best  Scottish  engraver  of 
his  time,  was  born  on  the  13th  November,  1771,  at 
Lanark.  He  was  educated  there  and  at  Mussel- 
burgh, and  apprenticed  to  Alexander  Robertson, 
a  landscape  engraver  in  Edinburgh,  in  1787,  when 
he  also  entered  the  Trustees'  Academy.  His  first 
successful   engravings  were  twelve   views  round 

57 


A  BIOGRAPHICAL  DICTIONARY  OF 


Edinburgh.  He  afterwards,  for  twenty  years,  exe- 
cuted the  monthly  prints  of  new  houses,  country 
seats,  &c.,  for  the  'Scots'  Magazine,'  and  many 
plates  for  Dr.  Anderson's '  Bee,'  Barry's  '  History  of 
Orkney,'  'Scenery  of  the  Gentle  Shepherd,'  Burns, 
&o.  &c.  He  died  in  January,  1841.  Many  of  his 
apprentices  became  distinguished,  among  them 
John  Burnett,  James  Stewart,  John  Horsburgh ; 
also  William  Douglas,  miniature  painter,  and 
Tliomas  Brown,  the  -writer  on  Natural  History. 
Robert  Scott  was  the  father  of  David  Scott,  R.S.A., 
and  Mr.  W.  B.  Scott, 

SCOTT,  Samuel,  an  eminent  English  painter  of 
views  and  sea-pieces,  was  born  early  in  the  18th 
century,  in  London,  and  there  practised  from  about 
1725  to  his  death.  He  was  tlie  friend  of  Hogarth, 
and  formed  one  in  the  famous  water-party  to 
Gravesend  in  1732.  Hia  sea-pieces,  chiefly  in  oil, 
were  very  popular,  and  he  was  one  of  the  earliest 
aquarellists.  In  his  topographical  views  he  fre- 
quently introduced  groups  of  well-drawn  figures. 
His  '  View  of  the  Tower  of  London  on  the  King's 
Birthday  '  was  exhibited  at  the  Royal  Academy  in 
1771,  and  some  of  his  works  appeared  at  the  Spring 
Gardens  Rooms.  After  a  long  and  prosperous 
career  in  London,  he  retired  to  Bath,  where  he  died 
of  gout,  in  October,  1772.  There  is  a  good  portrait 
of  him  bj'  Hudson  in  the  National  Gallery,  where 
there  are  also  two  of  his  own  works  :  '  Old  London 
Bridge  '  and  '  Old  Westminster  Bridge.' 

SCOTT,  William  Bell,  was  born  at  Edinburgh 
on  Sept.  12,  1811.  His  father  was  Robert  Scott, 
the  well-known  engraver,  whose  work,  chiefly  man- 
sions and  ruined  castles,  may  be  seen  in  the  pages 
of  the  'Scots  Magazine'  of  the  time.  His  mother 
was  Ross  Bell,  a  niece  of  Gowan,  the  sculptor. 
His  elder  brother,  David,  and  himself  soon  showed 
a  taste  for  art,  delighting  in  the  prints  and  illus- 
trated books  so  plentiful  at  home,  and  thus  came 
early  under  the  influence  of  Loutherbourg,  Fuseli, 
and  Corbould,  and.  more  especially,  of  W.  Blake, 
whose  designs  to  Blair's  '  Grave  '  they  were  never 
tired  of  admiring.  He  was  educated  at  the  High 
School.  His  poetic  tastes  were  indulged  from  an 
early  age,  and  it  was  characteristic  that  the  boy 
naturally  turned  to  speculative  and  religious 
themes.  Froui  the  first,  then,  Art  and  Literature 
were  his  chosen  mistresses.  He  met  both  Prof. 
Wilson  (Christopher  North)  and  Sir  Walter  Scott, 
but  neither  greatly  encouraged  his  literary  aspira- 
tions. In  the  winter  of  1833-34  he  made  his  debut 
at  the  Scottish  Academy's  Exhibition  with  a  land- 
scape representing  a  hermit  at  prayer  in  a  forest,  a 
subject  suggested  by  some  lines  by  Coleridge.  'To 
the  same  period  belongs  a  set  of  etchings  of  Loch 
Katrine  and  the  Trossachs.  His  art  training,  be- 
sides his  desultory  studies  at  home,  was  supplied 
by  the  Trustees'  Academy,  where  he  attended  the 
antique  class.  Robert  Scott,  however,  who  had 
always  regarded  his  own  art  in  a  commercial 
spirit,  discouraged  his  sons  from  looking  forward 
to  painting  as  a  profession,  and  accordingly  they 
learned  engraving  in  the  paternal  workshop. 
David  soon  gave  it  up  and  went  to  study  at  Rome, 
but  William's  engraving  of  the  '  Martyrs'  Tombs,' 
after  Thomson  of  Duddingston,  shows  that  he  per- 
severed long  enough  to  acquire  proficiency  in  the 
art.  As  time  passed  on,  however,  tlie  drudgery 
and  routine  of  his  father's  business  became  so  irk- 
some that  he  abandoned  it  and  went  to  London  in 
the  spring  of  1837.  Till  then  his  literary  activity 
had  been   greater  than   his  artistic,  but  now  the 

68 


latter  assumed  a  more  important  place.  Hoping 
to  supplant  the  fashionable  engravings  of  the  An- 
nuals of  the  day,  he  etched  a  set  of  eight  illustra- 
tions to  a  volume  of  '  Landscape  Lyrics,'  but  these 
achieved  only  a  barren  success,  and,  when  a  set  of 
etchings  on  steel  from  his  water-colours  of  Cava- 
lier and  Puritan  subjects  failed  to  find  a  publisher, 
he  turned  seriously  to  painting.  His  early  studies 
in  Loudon  were  mainly  in  the  direction  of  dra^ving 
from  the  antique  at  the  British  Museum.  Among 
his  earliest  works  were,  'The  Old  English  Ballad 
Singer'  (sold  from  tlie  British  Institution),  'The 
Jester'  (1840),  'The  Wild  Huntsman,'  and  'King 
Alfred  disguised  as  a  Harper'  (these  three  shown 
at  the  Suffolk  Street  Gallery).  He  began  to  make 
friends,  as  indeed  he  had  always  done,  and  these 
friendships,  frequently  close  and  lasting,  were 
always  with  notable,  and  often  witli  famous,  men  ; 
among  whom  may  be  mentioned.  Frith,  Egg, 
Poole,  Ward,  Kenny  Meadows,  W.  J.  Linton, 
Leigh  Hunt,  G.  H.  Lewes,  John  Leech,  Swinburne, 
Woolner,  Holman  Hunt,  and  D.  G.  Rossetti.  A 
series  of  symbolical  designs  representing  '  The 
stages  in  life  of  the  self-seeking  man '  belongs  to 
this  time.  His  poem  of  '  Rosabel! '  also  appeared 
in  Leigh  Hunt's  '  Repository.'  In  1842,  he,  as 
well  as  his  brother  David,  took  part  in  the  cartoon 
competition  for  the  new  Houses  of  Parliament, 
but  both  were  unsuccessful.  At  this  time,  too,  the 
Royal  Academy  rejected  his  '  Burgher  Watch  on 
the  City  Wall,'  and  the  British  Institution  his 
'  James  VI.,  the  Scottish  Solomon,  examining  the 
Witches  of  North  Berwick.'  His  acceptance  of  the 
Government's  offer  of  a  mastership  in  the  School 
of  Design  at  Newcastle  may  have  been  due  to 
these  discouragements.  There  he  found  an  ad- 
ministrative chaos  that  would  have  daunted  a  less 
sanguine  man,  and  it  cost  him  much  time  and 
worry  before  his  work  went  to  his  mind.  Here  he 
remained  from  1843  to  1858.  Interesting  himself 
in  the  study  of  local  antiquities,  he  published  the 
fruits  in  his  '  Antiquarian  Gleanings  in  the  North 
of  England.'  The  extended  continental  tours  in 
which  he  took  so  much  pleasure  began  also  about 
this  time.  During  one  of  these  to  Germany,  he 
visited  Munich  and  Nuremberg,  the  latter  as  a  pious 
pilgrimage  suggested  by  his  loving  study  of  Diirer, 
whom  he  painted  looking  out  on  the  Thiergarten 
Hof  from  the  balcony  of  his  house.  His  poetic 
activities  had  continued,  and  in  1846  his  longest 
poem,  '  The  Year  of  the  World,'  appeared.  It  was 
allegorical  and  phUosophical,  and  attracted  no 
popular  notice  ;  but  it  brought  him  the  warm  and 
lasting  friendship  of  Rossetti,  and  the  close  inti- 
macy thus  inaugurated  was  valuable  to  both.  In 
1849  his  brother  David  (q.  v.)  died,  and  William's 
Life  of  his  brother,  written  with  fulness  of  know- 
ledge and  sympathy,  deserves  warm  praise. 
Through  Rossetti  he  became  familiar  with  the  pre- 
Raphaelite  Brotherhood,  and  contributed  to  the 
'  Germ,'  but  it  does  not  appear  that  he  modified 
his  artistic  practice  through  any  influence  of  theirs. 
In  1854  he  paid  his  first  visit  to  Sir  Walter  Trevel- 
yan  at  Wallington  Hall,  Morpeth,  and  the  friend- 
ship which  ensued  led  to  his  preparing  a  scheme  of 
decoration  for  the  hall,  which  was  carried  out,  and 
remains  as  perhaps  the  best  specimen  of  his  artistic 
powers.  He  chose  subjects  from  Border  history 
and  legend  :  '  St.  Cuthbert  on  Fame  Island,'  '  The 
Building  of  Hadrian's  Wall,'  'The  Death  of  Bede,' 
'The  Danes  descending  on  the  Coast  at  Tyne- 
mouth,'  'The  Spur  in  the  Dish,' '  Bernard  Gilpin 


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PAINTERS  AND  ENGRAVERS. 


addressing  the  Borderers,'  'Grace  Darling,'  and 
'Iron  and  Coal.'  These  (named  in  order  of  com- 
pletion) formed  a  series  of  eight  large  designs,  the 
whole  being  exhibited  at  the  French  Gallery  in 
Pall  Mall  in  June  1861.  The  spandrels  of  the 
upper  arches  in  the  same  hall  were  tilled  in  with  a 
series  of  eighteen  scenes  from  the  ballad  of  '  Chevy 
Chase,'  and  were  placed  in  1870,  while  the  lower 
pilasters  were  decorated  by  tall  plants  painted  on 
the  stone  (these  being  executed  by  various  hands). 
His  friendship  with  Miss  Boyd  of  Penkill  began 
in  1859,  and  in  the  summer  of  the  next  year  he 
paid  his  first  visit  to  her  ancestral  home,  where  he, 
in  years  to  come,  passed  much  of  his  time,  where 
he  did  some  of  his  best  decorative  work,  and  where 
at  last  he  was  to  die.  The  changes  incident  on  the 
re-organization  of  the  central  authority  and  the 
establishment  of  the  Department  of  Science  and 
Art  which  led  ultimately  to  his  retirement  in 
1864,  at  first  made  his  position  more  congenial  ; 
and  the  courses  of  lectures  he  delivered  to  the 
senior  students  were  afterwards  published.  Freed 
from  official  duties,  he  returned  to  London  and 
settled  in  Elgin  Road,  Netting  Hill.  The  decora- 
tions at  Miss  Boyd's  seat  at  Penkill  Castle,  near 
Girvan,  Ayrshire,  consist  of  a  series  of  paint- 
ings illustrative  of  the  'King's  Qiiair'  on  the 
outer  wall  of  a  spiral  staircase.  The  work  was 
done  directly  on  the  wall  in  oil  pigments,  the 
medium  being  wax  dissolved  in  turpentine.  Be- 
tween 18G5  and  1868  the  windows  in  the  South 
Kensington  Keramic  Gallery  occupied  his  atten- 
tion. They  are  drawn  in  graffito  on  a  burnt  umber 
ground,  the  designs  showing  like  etchings  in  brown, 
heightened  and  varied  with  bright  yellow.  They 
represent  a  pictorial  history  of  the  Keramic  Arts. 
In  1870  he  settled  in  an  old  house  he  bought  at 
Chelsea.  The  decoration  of  the  staircases  leading 
to,  and  of  the  doors  of,  the  Lecture  Theatre  at 
South  Kensington  was  entrusted  to  him,  but  was 
never  carried  out,  although  the  drawings  were  pre- 
pared, and  are  now  in  the  Museum.  In  1870  his 
'  Life  of  Albert  Diirer,'  a  book  long  meditated, 
appeared.  His  poems  came  out  in  1875  with 
etchings  by  himself  and  Mr.  Alma-Tadema,  and 
with  a  dedication  to  Rossetti,  Swinburne,  and  Wm. 
Morris.  In  this  book  is  comprised  the  best  of  his 
poetical  work.  His  '  Poet's  Harvest  Home '  fol- 
lowed in  1882.  In  1887  he  was  elected  an  Honor- 
ary Academician  of  the  Royal  Scottish  Academy. 
He  was  also  honoured  with  the  degree  of  LL.D. 
For  the  last  six  years  of  his  life  he  suffered  much 
from  angina  pectoris,  and  in  1890,  on  November 
22,  he  died  at  Penkill  Castle. 

He  had  exhibited  at  the  Royal  Academy,  Suffolk 
Street  Galleries  and  the  British  Institution  about 
twenty  pictures  in  all,  the  last  at  the  Academy  of 
1869.  His  best  pictures,  the  subjects  of  all  of 
which  are  taken  from  historical  or  poetical  sources, 
are,  in  addition  to  those  already  mentioned,  'Bell- 
ringers  and  Cavaliers  celebrating  the  Entry  of 
Charles  II.  into  London  '  (1841),  'Chaucer,  John 
of  Gaunt,  and  their  Wives,'  '  King  Arthur  carried 
to  the  Land  of  Enchantment '  (exhibited  at  the 
Academy  in  1847,  and  perhaps  his  best  easel 
picture), '  The  Border  Widow  '  (1851), '  Una  and  the 
Lion,'  and  '  The  Norns  watering  Yggdrasil.'  His 
'Eve  of  the  Deluge' hangs  in  the  Tate  Gallery, 
and  '  The  Temptation  of  Eve '  (water-colour)  in 
the  South  Kensington  Museum,  where  are  also  the 
designs  for  the  inner  court  of  Wallington  Hall. 
On  the  staircase  of  the  Literary  and  Philosophical 


Institute,  Newcastle-on-Tyne,  there  is  a  very  fine 
fresco  by  him  5  ft.  x  4  ft.,  entitled  '  The  Building  of 
the  Castle,'  and  there  are  other  works  by  him  in 
private  residences  near  Newcastle.  He  certainly 
prepared  many  drawings  for  fresco  work  in  the 
Town  Hall  and  Mansion  House  of  the  same  city, 
but  does  not  appear  to  have  executed  the  paintings. 
In  William  Bell  Scott's  art  we  are  struck  by  the 
exuberance  of  his  fancy ;  this,  combined  with  his 
fine  sense  of  style  and  his  instinct  for  the  pictur- 
esque, compensates  largely  for  his  somewhat  faulty 
draughtsmanship  and  his  occasional  failings  as  a 
colourist.  He  always  studied  accessories  and  de- 
tails with  the  greatest  care.  In  decorative  orna- 
ment he  is  at  his  best ;  here  his  faculty  of  invention 
and  his  fine  taste  give  him  liigh  rank. 

His  poetry  is  better  known,  perhaps  deservedly 
so,  than  his  pictorial  art :  many  of  his  sonnets  are 
admirable  in  structure  and  felicitous  in  expression. 
He  was  a  true  Scot ;  and  his  speculative  and 
metaphysical  attitude  of  mind,  as  expressed  in 
his  poetry,  was  perhaps  too  strong  for  the  romantic 
spirit,  which,  under  the  stimulus  of  Rossetti's 
example  and  friendship,  might  otherwise  have  given 
it  a  wider  appeal. 

Besides  writing  Diirer's  life  he  also  published 
studies  of  the  Little  Masters,  to  which  he  had  given 
much  time,  various  volumes  dealing  popularly  with 
art  history,  and  editions  of  Keats,  Byron,  Cole- 
ridge, Shelley,  Shakespeare,  and  Scott,  with  critical 
and  biographical  introductions.  He  contributed 
many  articles  to  this  Dictionary. 

His  '  Autobiograpliical  Notes,'  edited  by  Prof. 
Minto,  and  published  in  two  volumes  in  1892,  are 
full  of  interest,  though  perhaps  too  outspoken.  From 
them,  the  article  in  the  '  Dictionary  of  National  Bio- 
graphy,' and  the  obituary  notices  in  the 'Athenaeum,' 
the  'Academy,'  and  the  '  Times,'  the  above  h.as  been 
compiled.  An  essay  by  H.  P.  Home  appeared  in 
the  'Hobby  Horse'  in  1891,  dealing  more  par- 
ticularly with  his  place  in  litej-ature.         J.  H.  W,  L. 

SCCTT,  William  Henry  Stothard,  water-colour 
painter,  born  March  7,  1783,  was  a  member  of  the 
Old  Water-Colour  Society,  and  a  constant  exhibitor 
in  its  galleries  for  many  years.  He  practised  at 
Brighton,  and  most  of  his  works  are  subjects  from 
Sussex  rural  scenery.    He  died  December  27,  1850. 

SCOTTI,  GOTTARDO,  of  Piacenza,  a  painter 
employed  at  Milan  in  the  second  half  of  the 
15th  century.  In  1457  and  1458  he  was  ex- 
ecuting decorative  work,  and  in  the  following 
year,  in  company  with  Cristoforo  da  Monza, 
valued  an  altar-piece  by  Ambrogio  Zavattari. 
He  was  a  member  of  the  Guild  of  Painters,  and 
was  continually  employed  in  the  Castello  and  in 
the  Cathedral  at  Milan.  A  triptych  bearing  his 
signature  is  in  the  Poldi  Museum  at  Milan,  and  a 
picture  of  similar  character,  with  scenes  from  the 
life  of  the  Madonna,  belongs  to  SigTior  Achille 
Cologna  in  that  city.  Gottardo's  son,  Bernardo, 
is  known  to  have  painted  at  Cassino  between  1487 
and  1500.  There  were  several  other  painters  of 
the  name  of  Scotti,  one  of  them  being  Stefano,  the 
master  of  Gaudenzio  Ferrari.  C.  J.Ff. 

SCOTTO,  Felice,  flourished  at  the  end  of  the 
15th  century.  He  painted  many  pictures  at  Como 
for  private  individuals,  and  at  S.  Croce  a  series  of 
frescoes  from  the  life  of  S.  Bernardo. 

SCOTTO,  (or  Scotti,)  Francesco,  an  Italian  en- 
graver, was  born  at  Venice  about  1760.  His  fac 
similes  of  original  drawings  by  Raphael,  with  others 
by  Rosaspina,  were  published  by  the  Abbate  Celotti 

59 


A  BIOGRAPHICAL  DICTIONARY  OF 


under  the  title  '  Desegni  originali  di  Raffaello  per 
la  prima  volta  publieata,  esistenti  nella  Imp.  Ao- 
cademia  di  Belle  Arti  di  Venezia,'  1829,  folio.  F. 
Scotto  also  engraved  Leonardo  da  Vinci's  (V)  so- 
called  '  Modesty  and  Vanity.' 

SCOTTO,  (or  ScoTTi,)  Girolamo,  bom  in  1780, 
was  educated  in  the  school  of  Longhi,  at  Milan. 
He  was  one  of  the  best  pupils  of  that  master.  The 
following  are  among  his  best  plates  : 

The  Madonna  di  San  Sisto  ;  after  Raphael. 

The  Madonna  di  Foligno  ;  after  the  same. 

Mater  pulchr?e  dilectionis ;  after  a  picture  discovered  at 

Genoa  in  1823,  and  ascnbed  to  Raphael. 
The  Terranuova  Madonna  ;  after  Raphael. 
The  Magdalen  at  the  feet  of  Christ ;  after  P.  Veronese. 
Children  healed  by  the  garments  of  St.  Philip  ;  after  A. 

del  Sarto. 

SCOTTO,  Stefano,  a  Milanese  painter,  who 
flourished  at  the  latter  part  of  the  15th  and  com- 
mencement of  the  16th  centuries.  He  was  an 
admirable  painter  of  grotteschi,  and  had  the  honour 
of  being  the  master  of  Gaudenzio  Ferrari ;  he  is 
also  believed  to  have  taught  Luini. 

SCOUGALL,  George,  a  Scotch  painter,  of  the 
end  of  the  17th  and  beginning  of  the  18th  centuries. 
He  is  said  to  have  been  the  son  of  John  Soougall, 
and  practised  portrait  painting,  imitating  tlie  man- 
ner of  Lely.  Many  portraits  attributed  to  the  elder 
Soougall  are  so  inferior  in  artistic  merit  to  the  work 
of  that  painter,  and  so  evidently  produced  under 
the  influence  of- Lely,  as  to  make  it  all  but  certain 
they  are  by  the  younger  painter. 

SCOUGALL,  John,  a  Scotch  painter  of  the  middle 
of  the  17th  century,  is  supposed  to  have  been  a  native 
of  Leith.  Much  obscurity  exists  as  to  his  history. 
Tradition  states  him  to  have  been  a  favourite  of 
James  VI.,  who  is  said  to  have  rewarded  him  with 
a  ring  for  a  portrait  he  painted  of  Prince  Henry, 
but  existing  portraits  by  him  are  dated  so  late  in 
the  17th  century  as  to  throw  much  doubt  on  this 
story.  Such  are  the  portrait  of  Sir  Archibald 
Primrose,  Lord  Clerk  Register,  dated  1670  (be- 
longing to  Lord  Rosebery),  and  two  portraits  of 
the  ancestors  of  the  Clerk  family,  dated  1674  (at 
Penicuik  House).  In  the  Scottish  National  Gallery 
there  is  a  portrait  of  John  Scougall,  painted  by 
himself,  holding  a  ring  in  his  hand,  in  supposed 
allusion  to  the  above-mentioned  legend. 

SCOULER,  James,  miniature  painter,  was  a 
member  of  the  Free  Society  in  1763,  having 
previously  exhibited  with  the  Society  of  Artists. 
He  is  said  to  have  gained  a  premium  from  the 
Society  of  Arts  when  only  fourteen,  in  1755.  He 
exhibited  constantly  at  the  Ro)'al  Academy,  from 
its  foundation  till  1787,  sending  chiefly  miniatures, 
but  occasionallj'  crayon  drawings. 

SCRETA,  Kabl,  (Count  Ssotnowskt  von  Za- 
WORZIC,)  painter,  was  born  of  a  noble  family  at 
Prague  in  1604.  For  several  years  he  lived  and 
worked  at  Venice,  Bologna,  and  Florence  ;  in  1634 
he  accompanied  his  friend,  Wilhelm  Bauer,  to  Rome. 
By  his  talents  and  application  he  obtained  a  high 
reputation  in  Italy,  and  was  even  appointed  pro- 
fessor in  the  Academy  at  Bologna.  On  his  return 
to  his  native  country  he  became  a  member  of  the 
Academy  at  Prague,  and,  in  1652,  principal  of  that 
institution.  Many  of  his  works  have  been  engraved. 
In  the  Dresden  Gallery  there  are  ten  of  his  pictures. 
Many  of  his  subjects  are  taken  from  sacred  history, 
and  the  legends  of  the  Saints ;  of  the  latter  he  de- 
lighted to  paint  fanciful  portraits.  It  is  recorded 
that  he  painted  his  own  portrait  as  St.  Giles,  in  the 

60 


church  of  St.  Martin,  and  again  as  St.  Luke  painting 
the  Virgin,  in  the  Thein-kirche,  both  at  Prague.  He 
engraved  a  curious  plate,  in  two  sheets,  which  was 
published  with  the  title  '  Philosophia  Universa  in 
Universitati  Pragensi;'  it  is  signed  Car.  Secreta 
fee.  1666.     He  died  at  Prague  in  1674. 

SCRIVEN,  Edward,  engraver  in  the  chalk  and 
dotted  manner,  bom  at  Alcester,  near  Stratford-on- 
Avon,  in  1775,  was  a  pupil  of  Robert  Thew.  His 
work  is  to  be  seen  in  '  Specimens  of  ancient  Sculp- 
ture,' published  by  the  society  of  Dilettanti,  in 
Dibdin's  '  Aedes  Althorpianae ;'  in  Tresham's 
'  Gallery  of  Pictures,'  and  other  publications  of  the 
same  class.  He  engraved  Benjamin  West's  studies 
for  the  heads  in  his  '  Christ  Rejected ' ;  many  de- 
tached plates  for  Boydell  and  other  publishers, 
after  English  artists ;  and  a  series  of  portraits, 
chiefly  after  Peter  Lely,  of  the  heroines  of  'Gram- 
mont's  Memoirs.'     He  died  in  1841. 

SCROPE,  William,  (of  Castle  Coombe,)  an  ama- 
teur painter,  born  1772.  He  published  several  books 
illustrated  by  his  own  pencil,  among  which  we  may 
mention,  '  The  Landscape  Scenery  of  Scotland,' 
'  Days  and  Nights  of  Salmon  Fishing,'  and  '  Days 
of  Deer-stalking.'  He  occasionally  exhibited  at 
the  Royal  Academy,  and  also  at  the  British  Institu- 
tion, of  which  he  was  one  of  the  directors.  He 
died  on  the  20th  of  July,  1852. 

SCROTS,  WiLLEii,  a  Flemish  portrait  painter 
of  the  16th  century,  was  appointed  painter  to  Queen 
Mary  of  Hungary  in  1537.  He  is  said  to  have 
painted  portraits  of  the  Empress  Elizabeth,  mother 
of  Mary  of  Hungary,  and  of  Charles  V.  and  his 
Empress,  but  these  have  disappeared. 

SCROUDOMOFF.    See  Scorodomoff. 

SCULPTORE,  Adamo,  (Ghisi  ?)  was  born  at 
Mantua  in  1530,  and  is  supposed  to  have  been  the 
son  of  Gio.  Bat.  Sculptore.  He  was  a  draughtsman 
and  engraver,  forming  himself  on  Michelangelo 
and  Giulio  Romano.  'The  dates  on  his  plates  range 
from  1566  to  1577,  but  he  seems  to  have  begun 
engraving  long  before  the  former  year  ;  and  if  the 
title-page  to  his  series  of  plates  after  Michelangelo's 
frescoes  in  the  Sistine  Chapel  he  really  by  himself, 
he  must  have  lived  longer  than  is  usually  supposed, 
for  it  is  dated  1585.  He  signed  his  plates  with  a 
monogram  composed  of  an  S.  on  the  bar  of  an  A. 
Of  some  130  prints  ascribed  to  him,  the  best, 
perhaps,  are : 

A  Holy  Family  with  Saints  ;  after  Giulio  Romano. 
A  Pieta  ;  after  Michelangelo. 

SCULPTORE,  Diana,  (Gnisi  ?)  was  born  at 
Mantua  about  1535,  and  is  believed  to  have  been  a 
daughter  of  Gio.  Bat.  Sculptore.  The  dates  on 
her  sixty  plates  range  from  1581  to  1588.  About 
1579  she  married  the  architect  and  sculptor,  Fran- 
cesco Ricciarelli,  of  Volterra,  after  which  she  occa- 
sionally added  his  name  to  hers  in  her  signatures. 
In  a  few  instances  she  signed  her  work  with  the 
single  word  Diana,  sometimes  with  a  monogram 
composed  of  a  D.  with  an  S.  inside  it,  followed  with 
the  word  incidebat  or  Mantuana.  She  engraved 
after  Raphael,  Zuccari,  Paris  Nogari,  and  especially 
Giulio  Romano.     Her  best  plates  are  : 

The  Martyrdom  of  St.  Catherine. 

The  Feast  of  Psyche  ;  after  Giulio  Romano. 

The  Woman  taken  in  Adultery  ;  after  the  same. 

The  Birth  of  John  the  Baptist ;  after  the  same. 

The  Birth  of  Apollo  and  Diana  ;  after  the  same. 

The  Corpse  of  Patroclus  carried  off  the  Field ;  after  tlit 

same. 
Christ's  charee  to  Peter ;  after  Raphael. 


LAZARO  BASTIANUS 

CALLED 

SEBASTIANI 


.-  ■ 

.^ 

1  :-..'y 

;|Mriii||^ 

••^%rv 

I  i 

1 

f 

■     'v5*' 

LA  Z  A  r<  V  S      B  A  '^  Tl  A  N  V  S  .    PINXI  T  , 

MADONNA  AND  CHILD 


PAINTERS  AND  ENGRAVERS. 


SCULPTORE,  Giovanni  Battista,  (Ghisi?) 
called  Mantovano  and  Beetano,  \va3  bom  at 
Mantua  in  1503.  He  was  architect,  painter,  and 
engraver,  and  a  disciple  of  Giulio  Romano  and 
Marc'  Antonio.  After  the  death  of  the  former  he 
became  architect-in-chief  to  the  Duke  of  Mantua. 
He  is  said  to  have  designed  altar-pieces  for  Man- 
tuan  churclies,  which  were  actually  painted  by 
Brusasorci,  Guisoni,  and  Ippolito  Costa.  He  en- 
graved about  twenty  plates,  the  dates  on  which 
range  from  1536  to  1540.  In  technique  they  are  dry, 
deficient  in  half-tones,  but  good  in  drawing.  He 
used  to  be  considered  the  head  of  the  Ghisi  family, 
but  later  researches  have  gone  far  to  prove  that  his 
name  was  really  Sculptore,  Soultore,  or  De'  Scul- 
tori,  and  that  the  word  '  Sculptor,'  which  occasion- 
ally follows  his  usual  signature  of  I.  B.,  or  /.  G., 
Mantuanus,  was  not  a  mark  of  condition,  but  a 
Latinized  form  of  his  name.  His  best  plates  are 
'  A  Sally  of  the  Trojans  against  the  Greeks,'  and 
'  Hercules  and  Antseus,'  '  David  beheading  Goliath' 
(1540),  and  '  Mars  and  Venus  '  (1539),  aU  after  G.  j 
Romano.     He  died  at  Mantua  in  1575.  I 

SEATON,  John  Thomas,  portrait  painter,  was 
the  son  of  Christopher  Seaton,  the  gem  engraver. 
He  was  a  member  of  the  Incorporated  Society  of  I 
Artists,  and  exhibited  at  the  Academy  between 
1761  and  1777.  About  three  years  later  he  was 
practising  with  much  success  in  Edinburgh,  and 
was  still  living  in  1806. 

SEBASTIANI,  Lazzaro,  (Bastiani,  see  p.  94, 
vol.  i.)  c.  1470  ?  has  been  erroneously  described  as 
the  son,  brother,  or  pupil  of  Carpaccio,  and  the 
mistake  originated  by  Vasari,  who  made  a  double 
personality  of  tliis  artist,  has  since  been  repeated. 
The  date  of  his  birth  is  uncertain.  He  came  from 
Padua  and  worked  chiefly  at  Venice,  where  in 
1470  he  was  enrolled  in  the  Guild  of  S.  Girolamo  ; 
from  1496  his  artistic  activity  diminished,  but  the 
time  of  liis  decease  has  not  been  recorded.  His 
first  pictures  possess,  to  a  marked  degree,  the  dis- 
agreeable charasteristics  of  the  Paduan  School. 
During  middle  life  the  influence  of  the  Vivarini 
softened  the  crudity  of  his  early  manner,  and  he 
practised  with  success  the  use  of  the  new  oil  medium 
then  recently  introduced  into  Venice.  Finally  he 
became  a  successful  imitator  of  Carpaccio,  and  was 
esteemed  by  his  contemporaries  as  a  man  of  sound 
judgment  on  artistic  matters,  and  was  selected 
by  Giovanni  Bellini  to  assist  in  the  valuation  of 
Giorgione's  frescoes  in  the  Fondachi  del  Tedesolii 
at  Venice.  Zanetti  describes  him  as  a  painter  del 
modo  antico,  an  expression  which  suggests  that 
his  style  retained  a  certain  conventionality  which, 
although  by  no  means  incompatible  with  good 
work,  prevented  him  from  reaching  the  level  of 
Carpaccio  and  the  best  artists  of  the  Bellini  group. 
His  earliest  known  work,  the  '  Entombment  of 
Christ,'  in  the  Church  of  S.  Antonio  at  Venice,  is 
a  typical  work  of  the  Squarcionesque  style,  poor  in 
colour,  studied  in  composition,  and  the  sacred 
scene  depicted  with  a  coarse  realism  verging  on 
the  grotesque.  '  Sta.  Veneranda  seated  in  glory 
with  Jesus  Christ,'  painted  for  the  Nuns  of  the 
Corpus  Domine  (Vienna),  betrays  the  influence  of 
Benedetto  da  Diana,  and  the  latter  artist,  in  com- 
pany with  Mansueti,  worked  with  Sebastiani  in  the 
Scuola  of  San  Giovanni  Evangelista  at  Venice. 
These  decorative  paintings,  formerly  the  property 
of  the  Knights  of  St.  John  of  Jerusalem,  have 
been  removed  to  the  Accademia.  No.  561,  '  Filippo 
di   Massari,  the   Crusader,  returning  from  Jeru- 


salem, offers  to  the  Confraternity  of  S.  Giovanni 
Evangelista  the  relic  of  the  True  Cross,'  is  by 
Sebastiani.  'The  Scenes  from  the  Life  of  S. 
Ursula  '  in  the  Ace,  Venice,  have  been  attributed 
to  him,  also  some  portions  of  the  decoration  of 
the  S.  Giorgio  Schiavone,  and  it  is  possible  that 
he  may  have  worked  on  them  as  assistant  to 
Bellini  and  Carpaccio.  In  the  likeness  of  Canon 
Giovanni  degli  Angeli,  who  kneels  at  the  feet  of 
the  Virgin,  in  Sta.  Maria  e  Donate  at  Murano,  the 
Vivarini  influence  is  manifest,  and  the  reputation 
of  Sebastiani  as  a  portrait  painter  is  confirmed  by 
his  being  selected  to  execute  the  series  of  the  Doges 
in  the  Hall  of  the  Twenty.  The  foregoing  statement 
embodies  received  opinions  concerning  this  artist 
until  the  present  time,  but  Mss.  Pompeo,  Moli- 
mente,  and  Gustaf  Ludwig,  in  a  work  entitled 
'  Vittore  Carpaccio  h  la  Confraternity  de  Sta. 
Ursula,'  claim  a  more  important  position  for 
Lazzaro  Sebastiani,  whom  they  regard  as  the 
master  of  Carpaccio,  Mansueti,  and  Diana.  They 
also  assign  to  him  several  pictures  not  hitherto 
included  in  his  authenticated  works,  notably,  'The 
Doge  Mocenigo  praying  the  Virgin  to  deliver 
Venice  from  the  Plague'  (Nat.  Gall.,  England).  This 
assertion  has  aroused  severe  criticism,  this  fine  pic- 
ture having  hitherto  been  attributed  to  Bellini  or 
Carpaccio.  '  The  Madonna  appearing  to  St.  Francis 
and  St.  Jerome'  (Royal  Palace  at  Vienna),  by  Bene- 
detto di  Diana,  may  be  with  some  probability  trans- 
ferred to  Sebastiani.    He  was  still  living  in  1508. 

Asolo.  St.  Jerome  entliroued. 

Barletta.  St.  Anthony  of  Padua. 

Bergamo.    Lochis  Carrara\Coronation    of    the    Virgin. 

Collection.      J      1490. 

Venice.  <S'.  Antonio.    Entombment. 

,,        Correr  Museum.     Annunciation. 

,,  Accademia.     Gift  of  the  Relic. 

,,  „  S.    Onofrio    and    his    Tree. 

(Pitta,  painted  for   Citta' 

dello. ) 

„  „  The  Nativity. 

„  „  'Ihe    Deposition    from    the 

Cross. 

^.  />  ;;        )  Glorification    of    Sta.   Vene- 

Vicnna.  Galle,y.  ^     ^^^^j^ 

„  „  Funeral  of  St.  Jerome.   A  wr. 

SEBASTIANO  del  PIOMBO.    See  Luciani. 

SEBILLE,  Gtsbert,  a  Dutch  painter,  of  whom 
little  is  known,  except  that  he  lived  in  the  middle 
of  the  17th  century.  He  painted  the  '  Judgment  of 
Solomon '  for  the  Town-house  of  Weesp,  of  which 
place  he  was  a  burgomaster.  There  is  also  an 
'  Assembly  of  the  Magistrates  in  1652 '  by  him  in 
that  building. 

Sl!)BRON,  HiPPOLYTE,  painter,  horn  at  Caudehec 
in  1801,  was  a  pupil  of  Daguerre.  He  began  his 
career  by  painting  dioramas.  Later  he  devoted 
himself  to  easel  pictures,  and  painted  chiefly  church 
interiors,  ruins,  public  buildings,  &c.,  and  occasional 
portraits.  He  was  a  constant  exhibitor  at  the  Salon 
from  1831  to  the  year  of  his  death,  which  took 
place  in  1879. 

SEGANO,  Geronimo,  a  Spanish  painter,  born  at 
Saragossa  in  1638.  After  learning  the  rudiments 
in  his  native  city,  he  visited  Madrid,  where  he 
studied  the  great  masters  in  the  royal  collection, 
and  returned  to  Saragossa  an  able  artist.  Palomino 
praises  his  frescoes  and  oil  pictures  in  the  church 
of  S.  Pablo.  For  the  last  twenty  years  of  his  life 
he  practised  as  a  sculptor  as  well  as  painter.  He 
had  many  pupils.     He  died  in  1710. 

SECCANTE,  Sebastiano,  was  a  native  of  Udine, 

61 


A   BIOGRAPHICAL  DICTIONARY  OF 


and  flourished  at  tlie  beginning  of  the  16th  century. 
He  was  a  disciple  of  Pomponio  Amalteo,  and  was 
a  respectable  painter  of  history  and  portraits.  In 
the  church  of  S.  Giorgio,  at  Udine,  tliere  is  a  '  Christ 
bearing  His  Cross,'  with  angels  liolding  the  instru- 
ments of  the  Passion,  by  Seccante.  He  married 
the  daughter  of  Pomponio  Amalteo. 

SECCHI,  Giovanni  Battista,  an  Italian  painter 
of  the  17th  century.  He  was  called  II  Caravaggio 
and  Cabavaggino  from  the  place  of  his  birth,  and 
practised  about  1619.  Lanzi  states  him  to  have 
painted  an  '  Epiphany  '  for  S.  Pietro  in  Gessato. 

SECCHIARI,  GiULio,  painter,  was  a  native  of 
Modena,  but  was  educated  at  Bologna,  in  the  school 
of  the  Carracci.  He  afterwards  visited  Rome  and 
Mantua,  where  he  painted  several  pictures,  which 
were  destroyed  or  carried  away  at  the  sacking  of 
that  city,  in  1630.  There  are  some  of  his  works 
in  th,e  churches  at  Modena.     He  died  in  1631. 

SECHAN,  PoLYCARPE  Charles,  born  in  Paris  in 
1803,  was  a  scene  painter  of  much  repute,  and  in 
this  capacity  was  engaged  at  the  Grande  Op^ra, 
where  he  painted  the  scenery  for  a  great  number 
of  pieces.      He  was    similarly   employed    at   the 
Theatre  Franfais,  the  Thl3.tre   de  I'Ambigu,  and 
the  Porte  St.  Martin,  and  had  a  large  practice  as  a 
restorer  and  decorator  of  theatre  interiors,  both  in 
Paris  and  the  provinces.     He  painted  in  the  Dres- 
den theatre,  was  charged  with  the  decoration  and 
furnishing  of  the  Dolma-Baghtche  Palace,  Constan- 
tinople ;  and  decorated  the  Th^Stre  de  la  Monnaie, 
Brussels.      Outside  his  theatrical  employment  his 
best  known  works  in  Paris  were  the  restoration  of 
the  Galerie  d'Apollon  in  the  Louvre,  and  the  trans- 
formation of  the  Pantheon  into  the  church  of  St. 
Genevifeve.    He  died  in  Paris,  September  14, 1874. 
SEDDING,    John     Dando,     an     ecclesiastical 
architect,   born   in    1838,   and   one   of    the  most 
perfect  draughtsmen  for  leaves  that  has  ever  lived. 
He    commenced    architectural    work    under    the 
superintendence    of    G.    E.    Street,    and     many 
churches  were  the  result  of  his  great  knowledge. 
Perhaps  the  best  known  is  the  one   he   did   not 
live  to  finish.  Holy  Trinity,  Chelsea.     His  spare 
time   was    always   given    up   to   designing,    and 
church   embroidery,  wall-papers,   and   decorative 
canvas  owe  many  of  their  most  satisfactory  designs 
to  his  hand.     He  was  exceedingly  fond  of  trees 
and  flowers,  and  although  a  strong  supporter  of 
the  beauty  of  the  formal  garden  with  topiary  work, 
he  was  yet  an  almost  equal  admirer  of  the  "  nature 
treatment"  of  gardens.     He  was   never  tired  of 
drawing  the  leaves  of  plants  with  every  conceiv- 
able  variety   of  shape,   position,    and   treatment, 
filling  very  many  sketch-books  witli  such  work 
alone,   and  the  success  of  his  designs  was  very 
largely   due   to   the   perfect   knowledge    he    had 
acquired  of  leaves  and  flowers.    He  was  the  author 
of  several  important  essays,  and   he   died  quite 
suddenly  in  1891,   followed   within  a  week    by 
his  devoted  wife. 

SEUDON,  Thomas,  landscape  painter,  the  son  of 
an  eminent  cabinet-maker,  was  born  in  London  in 
1821.  He  went  in  1841  to  Paris  to  study,  and  on 
his  return  designed  for  his  father.  In  1850  he 
took  an  important  part  in  founding  the  North 
London  School  of  Drawing  and  Modelling  in  Cam- 
den Town,  where  for  some  time  he  constantly 
taught.  In  1851  he  began  to  paint,  and  in  1852 
he  exhibited  his  first  work,  'Penelope.'  He  after- 
wards turned  to  landscape.  In  1853  and  1854  he 
travelled  with  Mr.  Holman  Hunt  in  the  East,  apd 
62 


Betting  out  again  two  years  later,  he  was  taken  ill 
at  Cairo,  where  he  died  in  1856.  His  friends  pur- 
chased and  presented  to  the  National  Gallery  his 
'  Jerusalem  and  the  Valley  of  Jehoshaphat.' 

SEDELMAYER,  Jeremias  Jakob,  was  bom  in 
1704,  at  Augsburg.  He  engraved  some  views  of 
the  Imperial  Library  at  Vienna  from  his  own  de- 
signs, which  were  published  in  1737.  Also  five 
plates  from  Gran's  ceiling  pictures  in  the  same 
building.  He  died  at  Augsburg  in  1761.  Among 
his  other  plates  we  may  name  : 

Portrait  of  AYolff  ;  after  Roy. 

St.  Rcsalio  and  St.  Theresa. 

Four  Allegories  ;  after  Solimena, 

SEDELMEYR,  Johann  Anton,  a  German  painter 
and  lithographer,  born  at  Munich  in  1797,  studied 
in  tliat  city  under  Kobell  and  Georg  von  Dillis. 
He  was  a  pleasing  landscape  painter,  and  litho- 
graphed a  number  of  pictures  in  the  Municli  and 
Schleissheim  Galleries. 

SEDGWICK, William,  engraver, born  in  London 
in  1748,  engraved  under  the  influence  of  Bartolozzi 
after  Angelica  KaufEman,  Penny,  and  others.  He 
died  about  1800. 

SEEKATZ,  Johann  Konrad,  born  at  Griinstadt, 
in  the  Palatinate,  in  1719,  painted  military  scenes, 
scenes  of  peasant  life,  and  landscapes  with  figures 
in  the  style  of  Brouwer.  '  Girl  with  a  Candle,'  a 
'  Boy  with  a  Cliopping-block,'  and  a  '  Boy  with 
Dog,'  are  in  the  Staedel  Museum,  Frankfort.  He 
died  at  Darmstadt  in  1768. 

SEELE,  Johann  Baptist,  painter  and  etcher, 
born  at  Morsburg  in  1775,  was  appointed  court 
painter  and  director  of  the  King's  Gallery  at  Stiitt- 
gart  in  1804.  He  painted  the  exploits  of  the 
Wiirtemberg  troops  in  the  years  1806  and  1809  in 
a  series  of  pictures  now  in  the  Palace.  He  died 
in  1814. 

SEELINGE.R,  Alfred,  historical  painter,  a  native 
of  Bavaria,  who  painted  a  well-known  picture,  called 
'  Spartacus,  Gladiator.'  He  died  at  Kio  de  Janeiro 
in  1873. 

SEELOS,  Gottfried,  German  painter ;  born 
January  9,  1828,  at  Bozen  ;  became  a  pupil  of 
Josef  Selieny,  and  studied  at  the  Vienna  Academy. 
Became  well  known  as  a  landscape  painter ;  his 
best-known  works  include  scenes  from  the  Tyrol, 
such  as  '  Vogelweidhof,'  '  Koloman  in  Tirol,' 
'  Scoglio  Pomo,'  &c.  He  died  at  Vienna,  March 
14,  1900. 

SEEMAN,  Enoch,  (Zeeman,)  portrait  painter, 
born  in  1694,  was  the  son  of  Isaac  Seeman,  a  por- 
trait painter  of  Dantzic,  by  whom  he  was  brought 
to  England.  Here  he  painted  many  portraits,  sonie 
of  which  have  been  engraved,  and  here  he  died 
in  1744.  Enoch  had  a  brother  Isaac,  who  died  in 
1751,  and  a  son  Paul,  both  of  whom  were  portrait 
painters. 

SEGALA,  Giovanni,  born  at  Venice  in  1663, 
was  a  scholar  of  Antonio  Zanchi.  A  '  Conception ' 
by  him,  painted  for  the  Scuola  della  Cariti,  Venice, 
is  praised  by  Lanzi.     He  died  in  1720. 

SEGANTINI,  Giovanni.  Of  the  ItaHan  painters 
who,  during  the  latter  part  of  the  nineteenth  cen- 
tury, revived  to  some  extent  the  old  traditions  of 
the  land  of  art  and  song,  none  was  more  original 
in  his  work  and  at  the  same  time  more  truly 
national  in  spirit  than  Giovanni  Segantini.  The 
son  of  parents  who  belonged  to  the  middle  class, 
and  were  at  the  time  of  his  birth  in  very  reduced 
circumstances,  Giovanni  was  born  at  the  mountain 
town  of  Arco,  on  the  Lago  di  Garda,  in  1858.    His 


PAINTERS  AND  ENGRAVERS. 


mother  died  when  he  was  four  years  old,  and  his 
father  toolc  him  after  her  funeral  to  Milan,  where 
be  placed  him  under  the  care  of  a  female  relation 
who  earned  a  scanty  subsistence  by  going  out  (o 
work  by  the  day.  From  that  time  nothing  was 
seen  or  heard  of  the  elder  Segantini,  and  it  will 
never  be  known  whether  the  complete  desertion  of 
his  son  was  intentional  or  not.  After  two  years  of 
great  unhappiness,  spent  chiefly  alone  in  a  garret 
whilst  his  guardian  was  absent,  Giovanni  ran  away 
to  the  mountains  and  was  adopted  by  some  kind- 
hearted  peasants,  whose  animals  he  helped  to  look 
after  in  return  for  board  and  lodging.  The  story 
goes  that  his  art  talent  was  first  revealed  by  a 
drawing  on  a  wayside  stone  of  one  of  the  pigs 
under  his  charge,  which  attracted  the  wondering 
admiration  of  the  simple  mountaineers,  who  took 
the  artist  and  his  work  to  the  local  authorities  and 
persuaded  them  to  send  him  at  their  expense  to 
the  School  of  Art  at  Milan.  Here  he  made  very 
rapid  progress,  and  had  soon  learnt  all  tliat  the 
masters  could  teach  him.  At  Milan  young  Segantini 
had  a  hard  struggle  to  live,  for  the  aid  so  gener- 
ously given  was  barely  sufficient  to  pay  the  fees 
at  school,  and  many  were  the  privations  bravely 
endured  by  him  in  the  little  garret  which  was  his 
only  home,  and  from  which  he  could  see  nothing  but 
the  roofs  of  a  few  houses  and  a  small  patch  of  sky. 
He  was  but  nineteen,  and  was  still  working  at  the 
school  courses  in  spite  of  his  own  conviction  that 
"  academies  do  real  art  harm  by  turning  out  a  lot 
of  painters  who  are  not  artists,"  when  he  produced 
his  first  oil  painting,  '  The  Choir  of  the  Church  of 
San'Antonio.'  In  this  poetic  composition  he  tri- 
umphantly achieved  a  task  which  tests  the  skill  of 
the  most  practised  craftsmen :  the  true  rendering 
of  the  effect  of  light  on  an  ornate  interior,  proving 
that  he  might  have  secured  success  in  other  direc- 
tions than  that  he  elected  to  follow.  Segantini's 
art  was  from  the  first  "  personal  and  individual,"_the 
direct  outcome  of  his  own  simple  character,  owing 
absolutely  nothing  to  any  human  teacher.  It  was 
long,  of  course,  before  he  achieved  his  later  mas- 
tery of  technique,  but  even  his  earlier  pictures 
show  how  deep  was  his  sympathy  with  the  pathos 
of  nature,  how  truly  he  saw  into  the  very  heart  of 
the  subjects  which  appealed  to  him.  During  his 
residence  at  Milan  he  painted  many  beautiful 
genre  pictures,  such  as  the  well-known  '  Falco- 
niera,'  but  all  the  time  he  was  homesick  for  the 
mountains,  and  as  soon  as  he  felt  that  he  had,  as 
he  expressed  it,  acquired  "  a  technical  method  of 
colour  and  design  quite  his  own,"  he  retired  to  a 
lofty  village  of  the  Brianza,  and  there  settled  down 
amongst  the  humble  shepherds  and  tillers  of  the 
8oil,  to  begin  the  series  of  pictures  in  which  he  put 
forth  all  the  strength  of  his  original  genius. 

Among  the  most  beautiful  and  remarkable  of 
the  Brianza  compositions  are  :  the  '  Ave  Maria  k 
Trasbordo,'  representing  a  boat  laden  with  sheep 
pausing  on  a  lake  in  the  gloaming  of  a  summer's 
day,  while  the  shepherd  and  his  wife  perform  their 
evening  devotions,  and  the  larger  'Alia  Stanga,' 
which  in  general  effect  and  the  skill  with  which 
the  groups  of  oxen  are  painted  recalls  the  best 
work  of  Troyon. 

From  Brianza,  Segantini  went  up  to  the  yet 
higher  Grison  Alps,  and  remained  for  eight  years  at 
the  remote  village  of  Savognino.  In  these  lofty 
solitudes  he  produced  many  an  exquisite  picture, 
in  which  he  interpreted  with  rare  fidelity  the  life 
of  the   simple-hearted    mountaineers   among  the 


austere  and  rugged  suiToundings  of  their  homes, 
representing  them  at  vvork  in  the  sheepfold,  on 
the  farm,  or  in  the  fields,  bringing  out  forcibly  the 
friendship  between  them  and  the  animals  upon  whom 
they  depend  for  their  daily  bread,  and  teaching  in- 
directly many  a  useful  lesson  of  thrift,  of  self-denial, 
and  of  privation  nobly  borne. 

It  is,  of  course,  in  his  effective  renderings  of 
simple  homely  scenes  from  peasant  hfe,  full  as  they 
are  of  a  delicately  subtle  insight  into  human  nature, 
equal  to  that  of  Millet  and  of  Bastien-Lepage,  that 
Segantini  was  most  successful,  but  these  revealed 
one  side  only  of  his  own  complex  character.  His 
lonely  wanderings  in  the  deep  silence  of  the  Alps 
intensified  the  strain  of  mysticism  recognized  by 
his  intimate  friends  when  he  was  still  a  student  at 
Milan,  and  during  the  last  few  years  of  his  life  he 
exhibited  several  symbolical  and  religious  pictures, 
so  unlike  anything  else  from  his  hand  that  it  is 
difficult  to  believe  they  are  his  work.  Of  these  one 
of  the  most  remarkable  is  the  '  Amore  alia  Fonte 
della  Vita,'  or  '  Love  at  the  Fountain  of  Life,'  in 
which  two  lovers  are  seen  walking  together  on 
a  lofty  mountain  meadow  amongst  the  blooming 
flowers  of  May,  whilst  the  Angel  of  Love  with 
outspread  wings  watches  them  from  her  post 
beside  a  spring  gushing  forth  from  the  living 
rocks.  Another  fine  picture  is  the  '  Annunciation,' 
in  which  the  artist  has  represented  the  angel 
sweeping  down  from  heaven  without  the  aid  of 
wings,  to  deliver  the  Divine  message,  which,  in 
spite  of  the  adverse  criticism  it  has  received, 
displays  extraordinary  technical  skill. 

Segantini  died  suddenly  on  September  28, 
1899.  He  was  working  far  up  in  the  mountains 
on  a  triptych  for  the  Paris  Salon  when  he  was 
taken  ill  in  his  hut,  and  as  no  water  could  be 
obtained  he  drank  melted  snow,  with  fatal  results. 

The  following  is  a  list  of  Segantini's  chief 
pictures  : 

Ave  Maria  k  Trasbordo. 

Sorrow  Comforted  by  Faith. 

The  Blessing  of  the  Sheep,  or  St.  Sebastian's  Day. 

Alia  Stanga  (At  the  Tether),  in  the  National  Gallery, 
Rome. 

Sacred  Art. 

Silkworms. 

Brianza  Pipers. 

An  Idyll. 

The  Last  Task  of  the  Day. 

One  More. 

In  the  Sheepfold. 

A  Kiss  by  the  Fountain. 

Two  Mothers. 

The  Orphans. 

A  Sleeping  Shepherd. 

Moonlight  Effect. 

Little  Sheep. 

The  Bird's  Nest. 

On  the  Alps  after  a  Storm. 

Sad  Hours. 

A  Prayer  at  the  Foot  of  the  Cross. 

Sheep  Shearing. 

The  Potato  Harvest. 

E^irly  Mass. 

The  Dun  Cow. 

At  Savognino. 

On  the  Balcony. 

Rest  in  the  Shade. 

The  Return  to  the  Sheepfold. 

Knitting. 

Haymaking. 

Ploughing  in  the  Engadine. 

Alpine  Pastures. 

Spring  Pastures. 

Spring  in  the  Alps. 

AJpine  Landscape. 

63 


A  BIOGRAPHICAL  DICTIONARY  OF 


The  Spinning-Wheel. 

The  Two  Mothers. 

Love  at  the  Fountain  of  Life. 

The  Angel  of  Life. 

The  Source  of  EviL 

The  Punishnaent  of  Luxury. 

The  Unnatural  Mothers. 

The  Home-coming. 

Portrait  of  an  Olil  Lady. 

The  Sower. 

The  Annunciation. 

The  Triptych  :  Life,  Nature,  Death. 

The  Choir  of  S.  Antonio. 

La  Falconiera. 

The  Shepherd's  Income. 

The  Toilers  of  the  Earth. 

The  Empty  Cradle. 

Best  After  Toil. 


A.  G.  B. 


SEGAR,  Francis  and  William,  two  English 
portrait  painters,  brothers,  who  were  practising  in 
London  in  the  16th  century,  are  mentioned  by 
Meres  in  his  'Wits'Commonwealth.'published  1598. 
SEGARRA,  Jayme,  a  Spanish  painter,  who, 
in  the  year  1530,  painted  an  altar-piece  for  Notre 
Dame  de  Belen,  at  Reus. 

SfiGfi,  Alexandre,  French  landscape  painter  ; 
born  in  Paris  in  1817,  and  became  a  pupil  of 
Cogniet  and  Flers,  and  first  contributed  to  the 
Salon  of  1844  his  '  Interieur  de  Ferme  h  Voiray' ; 
obtained  a  medal  in  1869,  and  a  second-class 
medal  in  1873  ;  was  made  a  Knight  of  the  Legion 
of  Honour  in  1874,  when  he  exhibited  '  Un  Matin 
dans  les  Alpes '  and  '  Ferme  de  Karoual.'  His 
'  Chalnes  de  Kertregounec'  is  in  the  Luxembourg, 
and  among  his  most  notable  paintings  are  '  La 
Valine  de  Courtry,'  '  Les  Champs  h  Coubron,' 
'  L'Epine  d'Antoigney,'  '  Les  Chataigniers  de 
Beauvoir,'  '  La  Vallee  de  Ploukermeur,'  and  '  La 
Vallee  de  la  S^e.'  As  an  etcher  of  landscapes  he 
was  also  highly  successful.  He  died  at  Coubron, 
Seine-et-Oise,  October  27,  1885. 

SEGHER,  Anne,  miniature  painter,  was  the 
daughter  of  a  physician  at  Breda,  and  practised  in 
the  16th  century. 

SEGHERS.  SeeZEGHERS. 
SEGHIZZI,  Andrea,  a  decoratire  painter,  born 
at  Bologna  in  1630,  was  a  pupil  of  Albani,  and 
painted  in  Ravenna,  Modena,  Parma,  and  Bologna. 
SEGNA  Di  BUONAVENTURA,  painter,  who 
flourished  at  the  beginning  of  the  14th  century  at 
Siena,  was  a  pupil  of  Duccio  di  Buoninsegna.  His 
chief  works  are  a  'Majesta,'  in  the  church  of  Cas- 
tiglione  Fiorentino  at  Arezzo,  '  Christ  on  the  Cross,' 
in  the  Abbey  of  S.  Fiore,  a  '  Virgin  vdih  Saints,' 
in  the  Academy  of  Siena,  and  '  Christ  on  the  Cross 
with  the  Virgin  and  St.  Jolin,'  in  the  National  Gallery 
in  London. 

SEGOVIA,  Juan  de,  a  Spanish  marine  painter, 
who  resided  at  Madrid  in  the  middle  of  the  17th 
century. 

SEGUIER,  John,  younger  brother  of  William 
Seguier,  bom  in  London  in  1785,  studied  at  the 
Academy  Schools,  and  painted  views,  among  which 
are  two  of  Oxford  Market,  and  one  of  Kew  Bridge. 
He  succeeded  his  brother  as  superintendrtit  of  the 
British  Institution,  and  died  in  London  in  1856. 

SEGUIER,  William,  bom  in  London  in  1771, 
was  the  son  of  David  Seguier,  a  well-known  picture- 
dealer  of  the  last  century.  Ho  studied  under  George 
Morland,  and  painted  views  in  and  around  the 
metropolis.  He  was  appointed  keeper  of  the 
royal  pictures,  and  of  the  National  Gallery  on  its 
foundation  in  1824.  He  was  also  superintendent 
of  the  British  Institution,  and  was  an  active  '  re- 
64 


storer'    of   pictures.      He    died    at    Brighton  in 
1843. 

SEGURA,  Antonio  de,  a  painter  and  architect 
employed  by  Philip  II.  in  1580  to  paint  an  altar- 
piece  for  the  monastery  of  S.  Yuste,  and  to  copy 
Titian's  '  Apotheosis  of  Charles  V.'  He  died  at 
Madrid  in  1605. 

SEGUVIRA,  DoMENico  Antonio  de,  a  Portu- 
guese painter  of  the  19th  century.  In  his  youth 
he  showed  such  capacity  for  art,  that  a  Portuguese 
minister  sent  him  to  Rome  to  study.  In  1810  he 
retumed  to  his  native  country,  and  practised  there 
with  success. 

SEIBELS,  Karl,  landscape  painter,  was  a  pupil 
at  the  Diisseldorf  Academy  and  of  Achenbach. 
He  painted  scenes  in  Holland  and  Italy.  He  died 
at  Naples  in  1877. 

SEIBOLD,  Christian,  bom  at  Mayence  in  1697 
(1703),  painted  portraits  somewhat  in  the  style  of 
Denner.  In  1749  he  became  painter  to  the  Empress 
Maria  Theresa.  The  Dresden  Gallery  has  five  of 
his  portraits,  including  one  of  himself.  He  died  at 
Vienna  in  1768. 

SEIDEL,  GtrsTAV,  German  engraver ;  born  April 
28,  1819,  at  Berlin  ;  studied  at  the  Academy  under 
Buchhorn  and  Mandel.  As  a  line-engraver  he 
became  famous  by  his  reproduction  of  pictures  by 
Dage,  Kaulbach,  Koerner,  Richter,  Schadow, 
Vecelli,  and  others.  He  was  a  member  of  the  St. 
Petersburg  Academy,  and  died  at  Rtidersdorf  near 
Beriin  in  July  1901. 

SEIDL,  Andreas,  painter  and  engraver,  bom  at 
Munich  in  1760.  In  1781  the  Elector  sent  him  to 
Italy,  where  he  gained  a  prize  at  the  Academy  of 
St.  Luke  in  Rome,  and  became  a  Member  of  the 
Academies  of  Bologna  and  Parma.  In  1787,  on 
his  return,  he  became  Court-painter  and  Professor 
at  the  Munich  Academy.  He  etched  a  few  plates, 
chiefly  'Academies.'     He  died  in  1834. 

SEIDLER,  Caroline  Louise,  born  at  Jena  in 
1786,  was  instructed  by  Koux,  and  by  Goethe, 
whose  portrait  she  painted.  From  1818  to  1823 
she  studied  in  Italy,  where  she  copied  Raphael  and 
Perugino.  In  1823  she  became  teacher  to  the  Prin- 
cesses Maria  and  Augusta,  at  Weimar,  and  in  1824 
curator  of  the  AVeimar  Gallery.  She  painted 
portraits  in  oil  and  crayons,  as  well  as  religious, 
mythological,  and  romantic  scenes.  She  died  at 
Weimar  in  1866. 

SEIFERT,  Alfred,  Hungarian  painter  ;  bom 
September  6,  1850,  at  Horovic  (Bohemia) ;  became 
a  pupil  of  Kirnig  at  Prague,  and  afterwards  studied 
at  the  Munich  Academy  under  Echter,  Striihuber,' 
and  Raab.  His  best-known  works  are  'Philippine 
Welser'  (in  the  Rudolfinum,  Prague),  'Oberon,' 
'Titania,'  'Ein  Gelobniss,'  and  '  Im  Herbst.'  lie 
died  at  Munich,  February  4,  1901. 

SEILLER,  Johann  Qeorg,  of  Schaffhausen,  a 
mezzotint  engxaver,  flourished  about  1700.  His 
plates  are  mostly  portraits,  and  are  good  for  their 
date.     Among  the  best  are : 

Portrait  of  the  Emperor  Joseph  I. 

Do.  J.  H.  Heidegger. 

Do.         the  Empress  Eleonora. 

Do.         the  engraver  Bartholomaus  Kilian. 
A  Monk  attempting  to  kiss  a  Girl. 

His  plates  are  inscribed  J.  G.  Seiller,  fecit,  or  J. 
Georg  Seiller  fedt  etex.,  and  sometimes  Joli-  Georg 
Seiller  scafufiamis  fecit. 

SEINSHEIM,  AnousT  Karl,  Graf  von,  painter, 
lithographer,  and  etcher,  born  at  Munich  in  1789, 
began  etching  about  1809.     While  studying  law  at 


PAINTERS  AND  ENGRAVERS. 


Landshut  he  learnt  oil-painting  from  Simon  Klotz. 
From  1813  to  1816  he  frequented  the  Munich 
Academy,  -where  he  studied  under  the  Langers. 
In  1816  he  went  to  Italy,  and  joined  the  so-called 
"Nazarenes."  On  his  return  to  Munich  he  painted 
a  '  Virgin  and  Child '  for  the  church  at  Griinbach, 
a  '  Charge  to  Peter '  for  the  church  at  Vohburg, 
and   other  altar-pieces.     He  died   at   Munich   in 

1869.  He  etched  ten  plates,  of  which  we  may 
name  : 

An  Old  Woman  Reading. 

A  Young  Woman  with  a  Child. 

A  Madonna  with  the  Child  Jesus. 

A  Man's  Heatl. 

A  Roman  Mother, 

SEISENEGGER,  Jakob,  bom  in  Austria  in  1605, 
painted  the  portrait  of  the  Emperor  Charles  V., 
and  became  in  1531  Court  painter  to  the  Grand 
Duke  Ferdinand.     He  died  at  Linz  in  1567. 

SEITZ,  Anton,  German  painter  ;  born  January 
23,  1829,  at  Roth-am-Sand,  near  Nuremberg, 
where  he  studied  art  under  Wagner  (F.)  and 
Eeindel,  becoming  subsequently  a  pupil  of  Fliiggen 
at  the  Munich  Academy.  He  painted  genre 
pictures  much  in  the  style  of  Meissonier,  such  as 
'  Landliche  Briefsteller,' '  Schiitzenkonig,'  '  Karten- 
spieler,'  &c.  He  died  at  Munich,  November  22, 
1900. 

SELB,  Joseph,  bom  at  Stockach  in  the  Tyrol,  in 
1784,  was  first  instructed  by  his  brother  Karl,  also 
a  painter,  and  then  went  in  1799  to  Diisseldorf. 
He  afterwards  worked  in  Munich,  and  gained  a 
name  by  his  lithographs  after  Vemet.  In  1816  he 
founded  a  Lithographic  Institute.  In  1820  he  as- 
sociated himself  with  von  Mannlich  in  carrying  on 
Strixner's 'Munich  Gallery.'  He  died  at  Munich 
in  1832. 

SELIGMANN,  Johann  Michael,  engraver,  born 
at  Nuremberg  in  1720,  was  instructed  by  the 
Preisslers.  He  visited  Rome  and  Petersburg,  and 
on  his  return  he  engraved  many  plates  for  botanical 
and  anatomical  books.     He  died  in  1762. 

SELL,  Christian,  a  native  of  the  Free  Town 
of  Hamburg,  born  in  that  city  in  1831,  of  an  im- 
portant Hamburg  family.  He  was  a  pupil  of  the 
Academy  at  Diisseldorf,  afterwards  entering  the 
studios  of  Hildebrandt  and  Schadow.  He  was 
specially  interested  in  pictures  representing  war 
or  military  equipment,  and  in  order  to  study  his 
favourite  subjects  attached  himself  to  the  Prussian 
army,  and  went  through  the  wars  of  1866  and 

1870.  There  are  representative  pictures  by  him 
at  Berlin,  but  his  best  work  is  at  Leipsic,  repre- 
senting the  soldiers  in  the  Thirty  Years'  War 
dividing  booty.  He  has  been  claimed  as  a  Dane, 
but  himself  preferred  to  be  considered  a  Ham- 
burger.    He  died  at  Diisseldorf  in  1883. 

SELLENY,  Joseph,  born  at  Meidling,  near 
Vienna,  in  1824.  He  studied  at  the  Vienna  Aca- 
demy and  under  Ender  and  Steinfield,  with  the 
former  of  whom  he  travelled  in  the  Tyrol  and  Italy. 
In  1857-59  he  travelled  with  the  Crown  Prince  of 
Austria,  the  present  Emperor,  to  North  Africa,  the 
Canary  and  Cape  Verde  Islands,  and  the  Brazils. 
He  died  insane  in  1875. 

SELLET,  James,  bom  in  1764,  was  an  English 
portrait,  fruit,  flower,  and  genre  painter.  He  died 
at  Norwich  in  1840. 

SELLIER,  Charles  FRANgois,  painter,  was  born 

at  Nancy,  December  25,   1830.     He  was  a  pupil 

of  Leborne  and  of  L6on  Cogniet,  and  in  1857  gained 

the   '  Prix   de   Rome.'     He   subsequently  became 

VOL.  v.  F 


keeper  of  the  Museum  of  Nancy,  where  he  died 
November  23,  1882.  He  executed  the  paintings 
for  the  chapel  of  St.  Denis,  in  the  church  of  St. 
Bernard,  Nancy,  and  the  following  works  by  him 
are  in  the  Museum  : 


The  Penitent  Magdalen. 
The  Death  of  Leander. 
The  Levite  of  Ephraim. 


A  Kitchen  Interior. 
Study  of  a  Head. 
An  Italian  Souvenir. 


SELLMAYR,  Ludwig,  German  painter ;  born  in 
1834,  at  Munich  ;  painted  landscapes,  animals,  and 
still-life.     He  died  in  1902. 

SBLMA,  Fernando,  a  Spanish  engraver,  was 
born  at  Valencia  about  1750.  He  studied  at 
Madrid  and  Paris.  He  is  among  the  best  of  the 
Spanish  engravers.  His  later  manner  resembles 
more  that  of  Edelinck  than  of  his  master,  Car- 
mona.  He  engraved  the  portraits  of  Cortes  and 
Soils,  prefixed  to  the  quarto  edition  of  '  Historia  de 
la  Conquista  de  Mexico,'  published  at  Madrid  in 
1783,  and  afterwards  engraved  the  plates  for  the 
'  Maritime  Atlas  of  Spain,'  which  occupied  him 
several  years.  He  also  engraved  portraits  of 
Charles  V.,  after  Titian,  of  Magellan  the  navigator, 
and  various  others.  One  of  his  best  plates  is  the 
'  Spasimo '  of  Raphael.     We  may  also  name  : 

La  Madonna  del  Pesce ;  after  Baphael. 

The  Virgin  and  Child;  also  after  Raphael. 

Selma  died  in  1810. 

SELOUS,  Henry  C,  British  painter,  born  in 
1811  at  Deptford  ;  admitted  as  a  student  of  the 
Royal  Academy  about  1818,  when  he  exhibited 
his  '  Portrait  of  a  Favourite  Cat.'  In  1836  he 
published  '  Outlines  to  Shakespeare's  "  Tempest.'' ' 
In  1844  he  produced  for  the  Art  Union  of  London 
a  series  of  illustrations  in  outline  of  Bunyan'a 
'Pilgrim's  Progress.'  Obtained  a  prize  for  designs 
iUustrating  the  Life  of  Bruce.  He  also  produced 
twenty  plates  in  outline  for  Kingsley's  '  Hereward 
the  Wake.'  To  the  Academy,  British  Institution, 
and  Suffolk  Street  Galleries  he  was  a  constant  con- 
tributor until  1874.  His  picture  of 'Cassio  wounded,'i 
at  Suffolk  Street,  was  the  last  he  exhibited.  He  died 
at  Beaworthy,  North  Devon,  September  24,  1890. 

SEMENTI,  GiACOMO,  (Semenza,)  painter,  was 
born  at  Bologna  in  1580,  and  was  a  fellow-student 
with  Francesco  Gessi,  under  Denys  Calvaert  and 
Guido  Reni.  He  was  a  clever  follower  of  the  style 
of  Guido,  and  painted  pictures  for  the  churches  at 
Bologna.  Such  are  a  '  Martyrdom  of  St.  Cecilia,' 
in  the  church  of  St.  Elena  ;  a  '  Marriage  of  St. 
Catharine,'  in  S.  Francesco  ;  a  '  St.  Sebastian,'  in  S. 
Miohele  ;  and  a  '  Crucifixion,'  in  S.  Gregorio.  A 
'Martyrdom  of  St.  Eugenia'  is  in  the  Bologna 
Gallery.  Sementi  visited  Rome,  where  he  painted 
frescoes  in  S.  Carlo  a  Catinari,  and  in  the  '  Ara 
Coeli.'     He  died  at  Rome  in  the  prime  of  life. 

SEMINO,  Andrea,  (1526-1595,)  called  Semino  il 
Vecchio,  son  of  Antonio  Semino,  studied  first  with 
his  father,  and  subsequently  at  Rome.  His  first 
recorded  work  is  a  '  Baptism  of  Christ,'  com- 
missioned in  1552  by  Adamo  Centurione  for  the 
church  of  Sta.  Maria  degli  Angeli  at  Genoa,  and 
painted  in  rivalry  with  Luca  Cambiaso,  the 
brothers  Lazzari,  and  Pantaleone  Calvi.  Alone, 
and  in  company  with  his  brother  Ottavio,  he 
painted  a  vast  number  of  frescoes  on  all  sorts  of 
subjects — religious,  historical,  classical,  and  myth- 
ological— for  churches  and  palaces  at  Genoa,  Milan, 
and  Savona.  A  number  of  portraits  by  him,  in- 
cluding one  of  the  wife  of  Scipione  Metelli,  of 
Castelnuovo  Lunigiana,   and    another   (1582),  of 

65 


A  BIOGRAPHICAL  DICTIONARY  OF 


Francesco  Maria  Spinola,  Marchese  di  Garessio, 
are  also  recorded.  We,  moreover,  find  notice  of 
a  triptych  for  a  chapel  in  the  church  of  the 
Annunziata  at  Genoa,  representing  the  '  Nativity,' 
with  the  Angel  Gabriel  appearing  to  St.  Joseph 
on  one  wing,  and  to  the  Shepherds  on  the  other. 
He  died  at  Genoa  at  the  age  of  69,  and  was  buried 
in  the  church  of  Sta.  Maria  del  Carmine  in  a  family 
tomb  prepared  by  himself  in  1578.  His  ability, 
though  commended  by  Lomazzo  equally  with  that 
of  his  brother  Ottavio,  was  not  so  great ;  but  his 
steadiness  and  reliability  were  infinitely  greater. 
He  left  two  sons,  Cesare  (died  about  1615)  and 
Alessandro  (died  1627),  both  inferior  painters,  by 
whom  were  executed  '  A  Martyrdom  of  St.  Cathe- 
rine,' in  the  Genoese  Duomo,  and  a  'Magdalen  at 
the  Feet  of  Christ,'  in  the  sacristy  of  Sta.  Maria  del 
Carmine.  So  poorly,  however,  did  they  succeed 
that  they  finally  abandoned  the  trade  of  painters. 
According  to  one  authority,  however,  Cesare 
worked  with  considerable  credit  at  Madrid.  To 
them,  however,  is  probably  due  the  foundation  of 
the  Semini  family  of  goldsmiths,  embroiderers, 
and  craftsmen,  recorded  as  resident  and  working 
at  Rome  at  the  end  of  the  sixteenth  and  throughout 
the  seventeenth  centuries.  Among  the  names 
mentioned  are  Giuseppe  (concerning  an  accident 
to  whom  a  document  dated  September  18,  1620,  is 
in  existence),  Andrea,  Benedetto,  Gian  Maria, 
Giovanni,  and  Pietro.  R.  H.  H.  C< 

SEMINO,  Antonio,  son  of  a  distinguished  soldier 
of  foreign  extraction  settled  at  Genoa,  was  born  in 
that  city  about  1485.  He  early  showed  a  taste  for 
art,  and  commenced  to  study  under  Ludovico  Brea 
of  Nice,  who  was  then  residing  at  Genoa  as  the 
guest  of  an  Augustinian  Father,  uncle  of  the  young 
artist,  Teramo  Piaggia.  With  this  youthful  painter, 
who  was  likewise  a  scholar  under  Brea's  tuition, 
Antonio  entered  into  friendly  relations  and  a  good- 
natured  rix'alry  which  lasted  throughout  their  lives ; 
and  many  pictures,  including  a  '  Martyrdom  of 
St.  Andrew,'  for  the  church  dedicated  to  that  saint 
at  Genoa,  are  their  joint  productions,  and  bear 
both  their  signatures.  His  earliest  recorded  pic- 
ture is  a  panel  of  the  'Archangel  Michael,'  with  a 
beautiful  landscape,  painted  in  1526  for  the  Genoese 
church  of  Sta.  Maria  della  Consolazione.  For  an 
older  church,  now  destroyed,  which  bore  this 
■designation,  he  and  Piaggia  executed  a  number  of 
frescoes  in  1532,  and  later  (1547)  a  '  Deposition.' 
In  1535  he  was  at  Savona  at  the  invitation  of  the 
Kiario  family,  where  he  painted  a  'Nativity'  and 
a  '  God  the  Father  surrounded  by  Angels '  (in  a 
lunette  above)  for  their  family  chapel  in  the 
church  of  S.  Domenico  in  that  city.  He  had  a 
special  taste  for  landscape,  in  which  he  greatly 
excelled,  was  an  earnest  student  of  art,  and  en- 
couraged warmly  the  younger  generation  of 
painters.  He  even  tried  to  form  a  school  at 
Genoa,  but  being  unable  to  do  so,  he  sent  his  two 
sons,  Andrea  and  Ottavio,  to  Rome  to  receive  their 
artistic  training.  The  last  dated  notice  of  him  is 
1547,  although  it  is  traditionally  understood  that 
he  died  in  high  honour  and  credit  at  an  advanced 
age.     Other  recorded  works  by  him  are : 

Genoa.  Ch.  of  S,  Domenico.    Deposition, 

The  Hospital  for  )  ^he  Eaieing  of  Lazarus. 
Jncurables.  j  ^ 

„  Duomo  (Chapel^The     Baptism     of     Christ. 

of  St.  John  the  >     {Pendant       to      Piaqyia^s 
Baptist).}      '  Birth  of  the  Baptist.') 
E.  H.  H.  C. 
«6 


SEMINO,  GidlioCbsare,  a  Genoese,  who  painted 
a  '  Crucifixion '  for  the  church  of  S.  Bartolomeo  de 
Sonsoles,  at  Toledo.  He  was  also  employed  by 
Philip  III.  in  the  Palace  of  the  Prado. 

SEMINO,  Ottavio,  son  of  Antonio  Semino,  and 
brother  of  Andrea,  was  an  artist  of  uncommon 
brilliancy  and  talent,  but  a  man  of  very  dissolute 
and  irregular  life.  Early  in  his  career  he  was 
banished  from  Genoa  for  having  killed  one  of  his 
apprentices,  being  only  permitted  to  return  on 
payment  of  a  heavy  fine  to  the  parents  of  the 
unfortunate  victim.  Along  with  his  brother  Andrea 
he  studied  first  in  their  father's  studio,  and  sub- 
sequently at  Rome.  At  first  also  they  lived  and 
worked  together,  but  Andrea  at  last  found  Ottavio's 
association  so  impossible  that,  weary  of  exhort- 
ation, he  finally  refused  to  reside  with  him  any 
longer.  Ottavio,  however,  had  early  secured  the 
friendship  of  Luca  Cambiaso,  and  in  partnership 
with  that  master  lie  opened  a  Life-School  at  Genoa. 
These  two  young  men,  pufEed  up  at  their  own 
performances,  even  ventured  to  criticize  the 
draughtsmanship  of  Titian  in  some  well-known 
engravings,  whereby  they  brought  down  upon 
themselves  the  rebukes  of  the  aged  Perin  del  Vaga. 
Ottavio  was  undoubtedly  a  brilliant  and  skilful 
performer,  since  liis  decorations,  exterior  and  in- 
terior, of  the  Palazzo  Doria  (now  Invrea)  were  so 
much  admired  by  Giulio  Cesare  Procaccino  as  to 
be  compared  by  him  with  the  work  of  Raphael. 
Painting  in  oils,  however,  was  not  his  strong  point, 
as  may  be  seen  by  his  '  Archangel  Raphael'  in  the 
church  of  S.  Agostino  at  Savona.  In  his  clothing 
and  personal  habits  he  was  excessively  untidy  and 
slovenly.  He  died  suddenly  in  1604  at  Milan — 
was  found  dead  in  his  chair — having  left,  however, 
according  to  Lomazzo,  one  pupil  of  some  merit, 
Cammillo  Landriani.  Among  the  many  works 
executed  by  him  the  follo^ving  may  be  here 
mentioned : 

Milan.  CA.|o/ 5*3.  J/ana)  Annunciation.     {On  the  doors 
degli  Servi.  j      of  the  organ.) 
„         Ch.  of  S.  A  nqelo  \ 

(Chapel  of  the  S-Life  of  the  Virgin.    {Frescoes.) 
Madonna) .  ) 

^"^aifjl^'f-ftl-tSaint. 

„  Chnst. 

„  „  The  Four  Doctors. 

„  „  The  Four  Evangelists. 

Ch.  of  S^^Varco  )  gj_  j^j^^  ^j^^  Baptist. 

„  Prophets. 

„  „  God  the  Father. 

^^  „  The  .\doration  of  the  Magi. 

'^  „  The  Marriage  and  Assumption 

of  the  Virgin. 
„  Sta.  Marta  \  St.    Augustine    on    horseback 

(Oratory).  /      chastising  heretics. 
„  „  The    Virgin,    St.    John,    and 

Angels. 
Pavia.  Certosa  ] 


Savona. 


/T>  J-   .      'f  }  The  Last  Supper, 
(Refectory).  S 


La  Madonna  della  Misericordia 
with  worshippers. 

R.  H.'  H.  C; 

SEMITECOLO,  Niccol6,  flourished  at  Venice  in 
the  second  half  of  the  14th  century.  His  earliest 
known  painting  is  a  '  Coronation  of  the  Virgin,' 
dated  1351,  and  now  in  the  Accademia  at  Venice. 
In  the  same  collection  there  are  fourteen  small 
panels  by  him,  which  have  been  supplemented  by 
a  '  Coronation  of  the  Virgin,'  by  one  Stefano,  (who 
s\gr\e.himse\i  StefanPlebamtsSaTictcsAgnetispinxit, 
M.CCC.LXXX.)  to  form  an  altar-piece.     In  1367 


PAINTERS  AND  ENGRAVERS. 


he  painted  an  altar-piece  with  scenes  from  the  life 
of  St.  Sebastian,  which  now  hangs  in  separate 
pieces  in  the  Chapter  Library  of  the  Duomo  at 
Padua.  Semitecolo  is  linown  to  have  hved  until 
1400,  and  it  has  been  suggested  that  lie  was  identical 
with  Niccol6  Paradisi  (g.  v.),  so  called  from  his 
residing  near  the  bridge  of  tliat  name  at  Venice. 

SEMOLEI,  II.  See  Franco,  Giovanni  Battista. 

SEMPELIUS,  D.  G.,  a  German  engraver,  who 
flourished  about  the  year  1580.  He  copied  some 
of  Albrecht  Diirere  prints  with  great  success. 
Among  his  beat  imitations  is  the  '  Descent  into 
Hell,'  from  the  Li.j  of  Christ.  It  bears  the  date 
of  the  original,  1512,  as  well  as  the  year  in  which 
it  was  engraved,  1580. 

SEMPER,  G.,  a  celebrated  architect,  boru  at 
Hamburg  in  1804,  and  a  student  at  Munich  and  in 
Paris.  He  eventually  became  Professor  in  the 
Academy  at  Dresden,  and  Professor  of  Architec- 
ture at  Zurich.  As  a  decorator  he  took  a  very 
high  position,  and  his  work  can  be  seen  in  the 
Museum  at  Dresden.  In  architectural  work  his 
greatest  success  was  the  theatre  in  the  same  city. 
He  became  implicated  in  political  troubles,  and 
had  to  leave  Germany  very  suddenly,  and  took  up 
his  abode  in  England,  where  he  became  an  As- 
sociate of  the  Royal  Academy.  The  latter  part  of 
his  life  was  spent  at  Zurich,  where  he  had  gone  to 
live  in  1856.  He  travelled  a  good  deal  in  Italy, 
and  died  rather  suddenly  at  Rome  in  May  1879. 

SENAVE,  Jacopos  Albertus,  born  at  Loo  in 
1758,  was  a  painter  of  Flemish  country  feasts,  in 
the  style  of  Teniers.  He  painted  the  atelier  of 
Rembrandt,  with  portraits  of  a  great  number  of 
artists,  contemporaries  of  that  master.  This  he 
presented  to  the  Academy  at  Ypres,  and  was  in 
return  made  an  honorary  director.  The  church  of 
Loo  has  a  'Seven  Works  of  Mercy,'  by  him.  He 
died  in  Paris  in  1829. 

SENEFELDEB,  Aloys,  the  inventor  of  the  art 
of  lithography,  was  born  at  Prague  in  1771,  but  in 
early  life  went  to  Munich  with  his  father,  who  was  an 
actor.  He  was  sent  to  the  university  of  Ingolstadt, 
to  study  jurisprudence,  but  his  inclination  led  him 
rather  to  the  stage  and  the  drama,  in  which,  how- 
ever, he  was  unsuccessful.  By  his  first  piece.  Die 
Madchenkenner,  he  cleared  fifty  florins  ;  his  second 
did  not  pay  expenses.  By  the  death  of  his  father 
his  means  became  straitened,  and  he  could  not  afford 
the  cost  of  printing  his  compositions  ;  he  therefore 
endeavoured  to  devise  some  other  method  of  multi- 
plication. He  made  experiments  in  engraving, 
etching,  and  stereotyping,  and  to  avoid  the  expense 
of  copper  plates,  made  use  of  a  fine  piece  of  Kel- 
heim  stone,  and  tried  to  print  from  it,  but  at  first 
without  much  success.  One  day,  however,  when  he 
had  prepared  a  stone  for  etching,  his  mother  entered 
the  room  and  requested  him  to  write  a  list  of  the 
linen  she  was  sending  to  be  washed.  He  had  not 
even  a  slip  of  paper  for  the  purpose,  having  used  all 
in  taking  proof  impressions,  and  even  his  inkstand 
was  dry.  As  the  matter  was  urgent,  he  wrote  the 
list  on  the  prepared  stone  with  the  etching  ground 
he  had  discovered  for  himself,  intending  to  copy  it 
at  leisure.  Afterwards,  when  about  to  clean  ofE  the 
writing,  it  occurred  to  him  that  by  the  application 
of  nitric  acid  and  water  he  might  bite  the  stone  so 
as  to  leave  the  writing  in  sufiicient  relief  to  print 
from.  The  experiment  succeeded,  and  as  soon  as 
he  had  brought  his  new  discovery  into  a  practical 
form,  he  applied  himself  to  making  it  a  commercial 
success.  The  mere  use  of  stone  as  a  substitute  for 
F  2 


copper  had  been  known  before,  but  Senefelder'a 
experiments  led  to  the  discovery  of  chemical  litho- 
graphy in  its  full  sense.  Senefelder  published  an 
account  of  it  in  1818,  which  was  translated  into 
French  and  English,  and  made  the  process  generally 
known  throughout  Europe.  His  own  practice  was 
confined  to  Germany,  where  he  arrived  at  a  com- 
petence, and  devoted  himself  to  perfecting  the  art. 
He  died  at  Munich  in  1834.  His  brothers,  Clemens, 
George,  Theobald,  and  Karl,  and  Heinsioh  his 
son,  all  practised  as  lithographers. 

SENELLY,   ,    an   Austrian   painter  of  tho 

19th  century,  the  first  part  of  whose  career  was 
spent  in  great  privation  and  misery.  His  early 
struggles  seem  to  have  afiected  his  brain,  for,  in 
1873,  after  he  had  obtained  some  recognition,  he 
became  insane,  and  died  in  1875. 

SENEX,  John,  an  English  engraver,  who  en- 
graved the  plates  for  the  London  Almanacks,  from 
the  year  1717  to  1727,  with  the  exception  of  that 
for  the  year  1723,  which  was  by  John  Clarke.  He 
died  in  1741. 

SENEZCOURT,  Jules  de,  painter,  was  bom  at 
Saint  Omer  in  1816.  In  1841  he  settled  at  Brus- 
sels, where  he  practised  portrait  and  genre  painting. 
He  died  in  1866. 

SENFF,  Aeolf,  a  German  painter,  bom  at  Hall6 
towards  the  close  of  the  18th  century,  first  studied 
theology,  but  in  1810  decided  to  devote  himself  to 
art,  and  began  to  work  in  pastel  under  Kiigelgen 
at  Dresden.  He  afterwards  went  to  Rome,  where 
he  copied  many  of  Raphael's  masterpieces  for  the 
'Rafael-Saal'  atSanssouci.  He  painted  a 'Madonna 
Enthroned,'  and  a  '  Christ  and  the  Canaanitish 
Woman,'  but  was  more  successful  with  fruit  and 
flowers.  His  brother  Karl  August  also  practised 
as  a  painter  and  engraver  at  Dorpat. 

SENTIES,  Pierre  Asthasie  Theodore,  painter, 
born  in  Paris,  February  23, 1801.  He  was  a  pupil  of 
Gros  and  Regnault.  He  painted  numerous  portraits, 
some  of  which  appeared  at  the  Salon,  but  his  best 
work  is  a '  Resurrection '  in  the  cathedral  of  Valence. 

SEP?,  Jan  Christiaan,  born  at  Amsterdam  in 
1739,  was  a  painter  of  insects.  He  published  '  The 
Natural  History  of  the  Insects  of  Holland,'  in  six 
volumes  quarto,  illustrated  with  some  two  hundred 
and  fifty  coloured  plates,  in  which  he  was  assisted 
by  his  son,  and  some  other  works  of  the  same  class. 
Sepp  was  a  member  of  the  society  Felix  Meritis 
at  Amsterdam,  where  he  died  in  1811. 

SEPPEZZINO,  Francesco,  a  Genoese  historical 
painter,  of  whom  little  is  known  except  that  he  was 
born  in  1530,  and  studied  under  Luca  Cambiasi  and 
Gianibattista  Castilli,  and  died  in  1579. 

SEPTIMUS,  Hercules.     See  Setti. 

SEPDLVEDA,  Mateo  Nunez  de,  a  Spanish 
painter.  In  1640  Philip  IV.  appointed  him  painter 
and  gilder  to  the  Spanish  Navy,  partly  in  return 
for  his  contribution  of  600  ducats  towards  the 
expenses  of  the  war  in  which  his  Majesty  was 
engaged.  His  patent,  among  other  privileges, 
gave  him  the  sole  right  of  painting  all  banners, 
standards,  &c.,  required  in  the  navy.  He  is  also 
said  to  have  painted  in  fresco. 

SEQUEIRA,  DoMiNQOs  Antonio  de,  a  Portuguese 
historical  painter  and  designer,  was  born  at  Lisbon 
in  1768.  He  gave  early  proofs  of  talent,  and  was 
sent  to  Rome  in  1788,  to  complete  his  studies.  He 
became  a  scholar  of  Antonio  Cavallucci,  and  after 
spendingsome  years  in  Italy  he  returned  to  Portugal, 
where  his  works  were  soon  in  great  request.  Se- 
queira  had  much  versatility,  and  strange  stories  are 

€7 


A  BIOGRAPHICAL  DICTIONARY  OF 


told  of  the  eccentric  methods  of  which  he  sometimes 
made  use.  In  1823  Sequeira  visited  Paris  to  exhibit 
his  '  Last  Moments  of  the  Poet  Camoens ; '  after 
which  he  went  to  Rome  and  became  devout.  He 
died  at  Rome  in  1837. 

SEQUENOT,  probably  a  native  of  France,  flour- 
ished about  the  year  1671.  He  engraved  some 
frontispieces  and  other  plates  for  books. 

SERAFIN,  Pedro,  sumamed  el  Grieqo,  a 
painter  of  Barcelona,  who,  in  conjunction  with 
Pedro  Pablo,  painted  the  doors  of  the  organ  of  the 
cathedral  of  Tarragona. 

SERAFIN  I.    See  Dei  Serafini. 

SERAF'INI.  See  Modena,  Barnaba  da  (Sup- 
plement). 

SERANGELI,  Gioacchino,  painter,  was  born  at 
Milan  in  1778.  He  studied  under  David,  in  Paris, 
exhibiting  at  the  Salon  in  the  early  years  of  the 
19th  century.  His  best  works  were,  a  'Roman 
Charity,'  which  excited  much  attention  by  its  dex- 
terous treatment  of  an  effect  of  light,  and  a  large 
'Napoleon  I.  addressing  the  Delegates  of  the  Army.' 
On  his  return  to  Italy  he  decorated  the  Villa  Som- 
mari  va  on  Lake  Como  with  frescoes  from  the  legend 
of  Psyche.  He  finally  settled  at  Milan,  where  he 
became  Professor  to  the  Academy. 

SEREGNO,  Giovanni  Angelo  and  Giovanxi 
Antonio  da,  two  painters  who  lived  and  worked 
at  Milan  in  the  last  quarter  of  the  15th  and  the 
first  quarter  of  the  16th  century.  They  undertook 
to  paint  the  shutters  of  the  organ  in  the  Cathedral, 
and  were  paid  for  some  part  of  the  work  in  1488, 
the  final  payment  being  made  to  Giovanni  Angelo 
alone  in  1491.  Giovanni  Antonio  is  mentioned  in 
connection  with  BoItraflBo  in  1503,  and  is  spoken 
of  as  an  admirable  painter.  Their  surname  appears 
to  have  been  Mirofolis  ;  Giovanni  Angelo  is  so 
called  in  a  list  of  payments  made  to  him  in  October 
1486  for  painting  a  figure  of  the  Blessed  Virgin 
and  for  other  work.  They  were  still  living  at 
Milan  in  1524. 

SERENARI,  Gasparo,  a  native  of  Palermo, 
flourished  about  the  year  1750.  He  went  to  Rome, 
and  frequented  the  school  of  Sebastiano  Conca. 
On  his  return  to  Sicily  he  distinguished  himself  as 
a  painter  of  history,  both  in  oil  and  fresco.  His 
principal  works  at  Palermo  are  the  cupola  of  the 
Jesuits'  church  and  an  altar-piece  in  the  monastery 
church  of  La  Carita. 

SERGENT,  Antoine  Louis  FRANgois,  engraver, 
born  at  Chartres  in  1751,  studied  under  S.  Aubin, 
and  engraved  several  excellent  plates.  When  the 
French  Revolution  broke  out  he  became  president  of 
the  Ward  of  St.  Jacques,  and  secretary  to  the  Jacobin 
Club.  He  was  the  means  of  saving  many  people 
from  the  guillotine,  and  of  performing  many 
kindly  deeds.  He  married,  in  1794,  Emira  Mar- 
ceau,  the  sister  of  General  Marceau,  and  the 
divorced  wife  of  Champion  de  Semet.  She  en- 
graved several  plates  from  drawings  by  her  hus- 
band. For  two  years  he  was  an  exile  in  Swit- 
zerland, but  on  his  return  to  Paris  was  active  in 
artistic  matters.  After  the  18th  of  Brumaire  he 
went  to  Venice,  where  he  published  '  The  Costumes 
of  the  People,  Ancient  and  Modem,'  in  twenty-one 
parts.     He  died,  blind,  at  Nice,  in  1817. 

SERGENT,  L.  P.,  a  French  artist,  born  at  Massy 
in  1849.  He  was  a  pupil  of  Pils  and  Laurens,  and 
exhibited  for  many  years  at  the  Salon.  He  ob- 
tained second-class  medals  in  1889  and  1890,  and 
a  first-class  bronze  medal  in  1900.  In  1904  he 
had  two  fine  pictures  at  the  Salon,  one  illustrating 

68 


a  scene  at  the  battle  of  Waterloo,  and  the  other 
the  battle  of  Wagram.  For  these  works  he  would 
probably  have  obtained  a  high  distinction  had  he 
lived.  He  died  in  June  1904,  after  a  long  illness, 
and  will  be  remembered  by  the  large  number  of 
paintings  he  executed  of  military  subjects. 

SERI,  Robert  de,  painter  and  engraver,  bom  in 
Paris  about  1680,  was  a  pupil  of  Cazes,  and  then 
studied  in  Rome.  He  became  painter  to  Cardinal 
de  Rohan,  and  painted  scenes  from  the  life  of  the 
Virgin  for  the  Capuchin  Church  of  the  Marais  in 
Paris,  and  the  '  Martyrdom  of  St.  Fidelia  '  for  the 
Capuchin  Church  in  the  Rue  St.  Honore.  He  exe- 
cuted several  etchings  after  Raphael,  Bagnacavallo, 
&c.     He  died  about  1739. 

SERIOUS.    See  Soye,  Philippe  de. 

SERIN,  Jan,  a  painter  of  historical  subjects  and 
portraits,  was  born  at  Ghent  in  1678.  He  has 
been  confounded  by  Balkema  with  his  father, 
N.  Serin,  an  historical  painter  of  the  same  place, 
by  whom  there  is  a  picture  in  the  church  of  St. 
Martin  at  Tournay,  '  St.  Martin  dividing  his  Cloak 
with  a  Beggar.'  The  elder  Serin  may  have  been 
the  scholar  of  Erasmus  Quellin,  and  the  younger  a 
scholar  of  Jan  Erasmus,  his  son.  Several  altar- 
pieces  in  the  churches  at  Ghent  are  attributed  to 
Jan  Serin,  but  he  was  more  celebrated  as  a  portrait 
painter,  which  profession  he  exercised  at  the  Hague. 
In  1748,  when  he  had  reached  his  seventieth  year, 
he  painted  the  portrait  of  the  Marquis  de  F^n^lon, 
ambassador  at  the  Hague,  and  that  of  the  Mar- 
chioness. The  precise  year  of  his  death,  and  that 
of  his  father,  is  not  known.  His  son,  Jan  Serin 
the  younger,  was  also  a  painter,  and  is  known  to 
have  practised  from  1740  to  1748. 

SERMEI,  Cesare,  II  cavaliere,  painter,  born  in 
1516,  at  Orvieto,  whence  he  went  to  Assisi,  where 
he  painted  frescoes  and  oil  pictures.  He  painted 
besides,  pictures  of  ceremonies,  markets,  &c.,  in- 
troducing numbers  of  small  figures.  He  died  at 
Assisi  in  1600. 

SERMONETA.    See  Siciolante. 

SERNB,  Adriaan,  born  at  Haarlem  in  1773, 
painted  landscapes  with  figures,  alleys  of  trees, 
and  views  of  towns,  and  also  etched  views  of  the 
neighbourhood  of  Haarlem.  He  was  director  of 
the  Academy  of  Zwolle,  where  he  died  in  1847. 

SERRA,  Miguel,  (Serre,  Serres,)  was  born  in 
Catalonia  about  the  year  1653.  At  the  age  of 
eight  years  he  absconded  from  his  mother's  house, 
and  managed  to  get  to  Marseilles,  where  he  ob- 
tained instruction  from  an  indifferent  painter,  and 
afterwards  went  to  Rome.  At  the  age  of  seven- 
teen he  returned  to  Marseilles,  and  painted  a  '  St. 
Peter  Martyr '  for  the  church  of  the  Dominicans 
of  that  city,  which  at  once  established  his  reputa- 
tion. He  was  soon  fully  employed  for  the  churches 
and  for  private  patrons.  He  sent  a  picture  to 
Paris  which  won  him  election  as  a  member  of 
the  Academy,  and  an  appointment  as  painter  to 
the  king.  Having  arrived  at  great  honour  and 
riches,  he  devoted  the  whole  of  his  wealth  to 
the  succour  of  the  poor  of  Marseilles  during  the 
plague  of  1721.  However,  when  the  plague  ceased, 
he  returned  with  renewed  ardour  to  his  profession, 
and  painted  scenes  which  he  had  witnessed  during 
the  epidemic.  He  worked  for  the  convent  of  St. 
Claire  de  Marseilles,  for  the  Madeleine  in  the  same 
city,  and  for  the  Carmelites  of  Aix.  His  easel 
pictures  were  also  in  great  request,  and  are  numer- 
ous. There  are  about  twenty  in  the  gallery  of  Mar- 
seilles.    He  died  at  Marseilles  in  1728. 


PAINTERS  AND  ENGRAVERS. 


SERRES,  Dominic,  the  younger,  water-colour 
draughtsman,  was  the  younger  son  of  Serres  the 
elder.  He  is  best  known  as  a  teacher  of  drawing, 
but  exhibited  landscapes  at  the  Royal  Academy 
from  1783  to  1787.  After  many  years  of  labour  in 
his  profession,  his  mind  became  clouded  by  a  settled 
despondency,  and  he  entirely  lost  his  connection  as 
a  teacher.  For  the  last  few  years  of  his  life  he  was 
supported  by  his  brother,  John  Thomas  Serres. 

SERRES,  Dominique,  born  at  Auch  in  Gascony 
in  1722.  His  parents  designed  him  for  the  Church, 
but  he  ran  away  and  went  to  sea,  and  in  time  be- 
came master  of  a  trading  vessel,  which  was  captured 
by  the  English  in  1762,  and  he  himself  brought  to 
England.  He  then  applied  himself  to  the  culti- 
vation of  a  native  bent  towards  art,  and  soon  ac- 
quired a  reputation  as  a  painter  of  sea-pieces  and 
landscapes.  When  the  Royal  Academy  was  insti- 
tuted, he  was  chosen  a  member,  and  some  j'ears 
afterwards  was  appointed  marine  painter  to  George 
III.  In  1792  he  became  librarian  to  the  Royal 
Academy.  One  of  his  important  works  was  a 
picture  of  Lord  Howe's  victory  over  the  combined 
Fleets  of  France  and  Spain,  off  Gibraltar,  in  1782. 
He  was  a  large  contributor  to  the  exhibitions  at  the 
Royal  Academy  for  several  years  after  its  institu- 
tion. During  the  first  ten  years  he  exhibited  about 
forty  pictures,  all  of  English  naval  actions.  Many 
of  them  are  at  Hampton  Court  and  in  Greenwich 
Hospital.     He  died  in  London  in  1793. 

SERRES,  John  Thomas,  marine  painter,  born  in 
London  in  1759,  was  a  pupil  of  his  father  Domi- 
nique. He  was  drawing-master  at  the  naval  school 
at  Chelsea.  In  1790  he  visited  France  and  Italy. 
In  1793  he  became  marine  painter  to  the  king  and 
draughtsman  to  the  admiralty.  In  1801  he  pub- 
lished '  The  little  Sea  Torch  for  Coasting  Ships,' 
with  coloured  plates,  and  in  1825  his  '  Liber  Nauti- 
cus,'  a  handbook  for  marine  painters.  He  was 
ruined  by  the  depravity  and  extravagance  of  his 
wife,  who  called  herself  Princess  of  Cumberland. 
He  became  bankrupt  and  died  in  the  Rules  of  the 
King's  Bench  Prison  in  1825. 

SERRES,  Olive,  landscape  painter,  born  in 
1772,  was  the  wife  of  John  Thomas  Serres,  and 
claimed  to  be  the  daughter  of  Henry  Frederick, 
Duke  of  Cumberland.  Her  legal  father  was  a  house 
painter  at  Warwick,  named  Wilton.  Her  preten- 
sions were  brought  before  the  House  of  Commons  in 
1822.  She  exhibited  landscapes  at  the  Academy  and 
the  British  Institution.  She  died  November  21, 1834. 

SERRUR,  Henki  Augusts  Calixte  Cbsab, 
painter,  was  born  at  Lambersart,  near  Lille,  in 
1794.  He  studied  first  at  Lille,  but  in  1815  was 
granted  a  pension  by  the  town  to  enable  him  to 
complete  his  education  in  Paris.  He  tliere  entered 
Regnault's  studio.  He  exhibited  at  the  Salon  from 
1819  to  1852,  and  died  in  Paris  in  1865.  Works : 
Arras.  3fiiseum.    Brunhikla. 

„  Cathedral.    St.  \yaast  healing  the  Blind. 

Bordeaux.  Museum.    Portrait  of  Charles  X. 

Cambrai.  „  Deatli  of  Mazet. 

Douai.  „  Kazzia  in  Africa- 

Lille.  ,,         Three  Scenes  from  Homer. 

sJ'cnf  Heart  }  '^'"^  Presentation  in  the  Temple. 
Eennes.     Churcjijfjt  |  ^^j^j^^  i,^^;^^  ^  Hebrew. 

Valenciennes,  lluseum.    The  Shipwreck  of  Camoens. 
Versailles.  „  Several   OfiBcial    Portraits  and 

Battle-pieces. 

SERVAES,  Herman,  a  Flemish  painter,  born 
probably  at  Antwerp  in  1601.     He  was  a  pupil 


of  Van  Dyck,  was  a  member  of  the  Guild  of  St. 
Luke  in  1650,  and  was  still  living  in  1660. 

SERVANDONY,  Jean  Nicholas,  an  eminent 
painter  of  theatrical  scenery  and  architectural  decor, 
ations,  was  born  at  Lyons  in  1695,  and  received 
his  instruction  in  art  at  Piacenzafrom  Paolo  Panini, 
and  at  Rome  under  G.  G.  Rossi.  His  name  is  often 
Italianized  and  his  birth  put  at  Florence,  but  the 
truth  seems  to  be  as  here  stated.  After  a  sojourn  in 
Portugal,  where  he  was  much  employed  on  decor- 
ations for  public /(?<e«,  he  settled  in  Paris,  where  he 
was  received  with  enthusiasm,  and  received  the 
honour  of  knighthood.  In  1749  he  was  invited  to 
London,  where  he  found  a  wife,  proceeding  after- 
wards to  Dresden,  Vienna,  and  Wiirtemberg.  From 
1737  to  1765  he  was  a  steady  contributor  to  the 
Salon.  In  the  Louvre  there  is  a  picture  of  ancient 
ruins  by  him,  painted  in  the  manner  of  P.  Panini. 
He  died  in  Paris  in  1766. 

SERVIN,  Amed£e  :^lie,  painter,  was  bom  in 
Paris  in  1829.  He  was  a  pupil  of  DroUing,  entered 
the  Illoole  des  Beaux  Arts  in  1848,  and  gained 
several  medals  at  the  Salon.  His  subjects  were 
chiefly  landscapes  and  animals  ;  he  occasionally 
painted  genre  pictures,  and  etched  a  few  plates, 
among  them  one  after  his  own  picture,  '  Le  Puits 
de  mon  Charcutier.'  His  '  Moulin  Bal6 '  is  in  the 
Marseilles  Museum,  and  there  are  landscapes  by  him 
in  the  Museums  of  Mans  and  Melun.  He  died  in  1886. 

SERVlfeRES,  EuGiNiE,  Madame,  {nee  Chaeen,) 
was  born  in  France  in  1786.  She  was  a  pupil  of 
Lethiere,  was  premiated  in  1808  and  1817,  and 
exhibited  occasionally  at  the  Salon  in  the  early 
years  of  the  19th  century.  Her  'Inez  de  Castro' 
is  in  the  Trianon. 

SERWOUTER,  Pieter,  a  Flemish  engraver, 
born  at  Antwerp  about  the  year  1574.  He  was  a 
contemporary  with  J.  van  Londerseel,  to  whose 
style  his  bears  some  resemblance.  Among  other 
prints  by  him  are  the  following: 

A  set  of  tweh-e  Hunts ;  ajter  D.  VincTceloams. 

The  Fall  of  our  tirst  Parents  ;  after  the  same. 

A  Dutch  Merrymaking  ;  after  the  same. 

Samsou  killing  the  Lion  ;  after  the  same. 

David  killing  the  Bear  ;  after  the  same. 

He  marked  his  plates  with  a  cipher  composed  of  a 
P,  an  S,  and  a  W,  thus,    ^.  "W- 

SESTO,  Cesarb  da,  called  Ce«are  Milanese, 
was  born  at  Sesto  Calende  about  1480.  He  is 
generally  regarded  as  a  disciple  of  Leonardo  da 
Vinci,  but  late  in  life  he  went  to  Rome  and  became 
affected  by  the  example  of  Raphael.  He  also 
visited  Naples  and  Messina,  where  he  painted  the 
'  Adoration  of  the  Magi,'  now  in  the  Naples  Gallery. 
But  the  details  of  his  career  are  little  known,  and 
there  is  much  uncertainty  as  to  his  life.  His  work 
is  very  eclectic,  showing  traces  not  only  of  the 
influence  of  Leonardo  and  Raphael  but  also  of 
Dosso  Dossi.  It  is  always  refined,  and  his  land- 
scapes are  decorative  from  the  effect  of  branching 
trees.  The 'Judith,' at  Vienna  ;  the 'Altar-piece,' 
in  Sta.  TrinitJi  della  Cava,  near  Salerno,  long  given 
to  Sabbatini,  are  also  by  Cesare.  He  died  at  Milan 
about  1521.     Other  works  by  him  : 

Madrid.  Iluseum.     Virgin  and  Child. 

Milan.  Scotti  Coll.    Baptism  of  Christ. 

„  Brera.     A  Madonna. 

„  Casa  Ilelzi.    Altar-piece  in  several  compart- 

meuts,  St.  Roch  in  the  centre. 
Naples.  JIhiseum.     Adoration  of  the  Kings. 

Richmond.  SirF.Cook'^s-ty.^^.^  enthroned. 

69 


A  BIOGRAPHICAL  DICTIONARY  OF 


Torin.  Gallery.    A  Madonna. 

Venice.  Man/rim  Gall.    Two  Madonnas. 

SESTRI.     See  Travi. 

SETCHELL,  Saeah,  waa  born  in  1813.  She 
became  a  pleasing  painter  of  landscapes,  portraits, 
and  genre  subjects  in  water-colour.  Her  first  ex- 
hibit was  '  Fanny,'  at  the  Koyal  Academy  in  1831. 
She  showed  in  all  nine  pictures  at  the  Academy, 
fifteen  at  Suffolk  Street,  and  thirty-four  at  the  New 
"Water-Colour  Society,  of  which  she  became  a 
member  in  1842.  At  the  Gallery  of  the  British 
Artists  in  1840  she  exhibited  'A  Scene  from 
Howitt's  "Rural  Life  in  England.'"  This  was 
engraved  by  S.  Bellin  in  1843,  and  published  under 
the  title  'The  Momentous  Question,'  attaining 
wide  popularity.  Among  other  typical  paintings 
may  be  mentioned:  'Jesse  and  Colin'  (1850); 
'Sketch  at  Highgate'  and  'Sketch  on  Harrow 
Weald'  (1853);  'Lake  of  Ztirich '  and  'Lady  in 
White  Satin'  (1866).  Miss  Setohell  ceased  to 
exhibit  in  1867,  and  died  on  January  8,  1894,  at 
her  residence  at  Sudbury,  Harrow.  J[.  H. 

SETLEZKY,  Balthazar  Sigismund,  a  German 
engraver,  of  Polish  origin,  who  was  born  at  Augs- 
burg in  1695.  He  died  in  1770.  He  engraved 
after  Watteau,  J.  M.  Roos,  and  H.  Rocs. 

SETTELLA,  Manfred,  painter  and  mechanician, 
born  at  Milan  in  1600,  was  Director  of  the 
Academy  in  his  native  city,  and  died  in  1680. 

SETTI,  Ercole,  (or  Septimds,  Hercules,)  an 
Italian  painter  and  engraver,  who  flourished  about 
the  year  1560.  He  was  a  native  of  Modena,  and 
painted  altar-pieces  for  the  churches  in  that  city. 
He  etched  a  few  pHtes  and  was  still  at  \\ork  in 
1593. 

SEUBERT,  Johann  Friedrich,  born  at  Stutt- 
gart in  1780,  learned  art  from  Heideloff,  and 
painted  decorations,  portraits,  and  flowers  in 
water-colours.  He  became  professor  to  the  Kath- 
arinenstift  in  1838.     He  died  at  Stuttgart  in  1859. 

SEUPEL,  J.  A.,  an  engraver  of  portraits,  which 
he  frequently  drew  from  the  life,  was  born  at 
Strasburg  in  1660.  His  plates  are  neatly  executed 
with  the  graver.  In  several  plates  he  imitated  the 
effect  of  mezzotint  with  the  burin ;  this,  perhaps, 
led  him  to  scrape  a  'View  of  Strasburg  by  Night.' 
He  died  at  Strasburg  in  1714. 

SEURAT,  Georges  Pierre,  French  painter; 
born  December  2,  1859,  in  Paris  ;  became  a  student 
at  the  ficole  des  Beaux  Arts  ;  made  a  special  study 
of  Delacroix's  frescoes  in  the  St.  Sulpice  ;  painted 
landscapes  in  the  Impressionist  style,  scenes  chosen 
in  Normandy  and  at  Asniferes  ;  also  portraits  ;  his 
'Cirque,'  'Poseuse,'  and  'Dimanche  Ji  la  grande 
Jatte,'  are  among  his  best-known  works.  He  died 
in  Paris,  in  March  1891. 

SEUTER.     See  Saiteb. 

SfeVB,  Gilbert  de,  was  born  in  Paris  in  1615. 
It  is  not  known  by  wliora  he  was  instructed,  but  lie 
was  a  painter  of  ability,  and  a  foundation  member 
of  the  old  viattrise.  Several  of  his  portraits  of  dis- 
tinguished persons  were  engraved  by  Edelinck, 
Van  Schuppen,  Masson,  and  other  eminent  French 
engravers.  His  own  portrait,  by  Nattier,  is  at 
Versailles.     He  died  in  Paris  in  1698. 

Sl;VE,  Pierre  de,  brother  of  Gilbert  de  Seve, 
was  born  at  Moulins  in  1623.  He  was  trained  by 
his  brother,  and  painted  similar  subjects.  He  died 
in  1695. 

SEVERING.     See  San  Severing. 

SEVERN,  Joseph,  painter,  bom  about  1795.  He 
70 


settled  in  Rome,  where  he  worked  for  many  years, 
frequently  sending  a  picture  to  the  Royal  Academy 
Exhibitions  in  England  between  1827  and  1857. 
He  was  the  friend  of  the  poet  Keats,  took  him  to 
Italy,  and  tended  him  during  his  last  illness  in 
1821.  Severn  returned  to  England  in  1840,  and 
won  a  premium  of  £100  at  the  Westminster  Hall 
competition  of  1843.  In  '44,  '45,  and  '47,  he  was 
less  successful.  He  was  again  in  Rome  in  1861, 
and  held  the  post  of  British  Consul  in  that  city 
until  1872,  when  he  retired  on  a  pension.  He  died 
in  Rome,  August  3,  1879,  and  was  buried  there, 
but  in  1882  his  body  was  removed  from  its  first 
resting-place  to  a  grave  beside  that  of  Keata  in 
the  Protestant  cemetery  next  the  pyramid  of  Caius 
Sestius.  The  following  works  by  him  are  at  South 
Kensington  : 

Scene  from  '  Eloi'sa  and  Abelard.' 

M,iry  Stuart  at  Loch  Leven. 

Ariel,  on  a  Bat. 

Nymph  gathering  Honeysuckle. 

Portrait  of  Keats.     {Nat.  Fort.  Gallery.) 

SEVERN,  IMiss.    See  Newton,  Mrs.  Charles. 

SEVERO  DA  BOLOGNA,  an  early  Italian  painter, 
practising  about  1460.  He  was  a  pupil  of  Lippo 
di  Dalmasio. 

SEVESTRB,  Jules  Marie,  French  painter; 
born  at  Breteuil  (Eure),  September  16,  1820; 
became  a  pupil  of  Corot  and  of  L^on  Cogniet  ; 
made  his  de'fcirf  at  the  Salon  of  1864  with  'Susanne' ; 
painted  mythological  subjects,  such  as  '  Lida,'  '  La 
Toilette  de  Venus,'  '  Nymphe  Chasseresse,'  &c. 
Obtained  an  honourable  mention  in  1883  ;  died  in 
Paris,  October  3,  1901. 

SEVILLA  ROMERO  Y  ESCALANTE,  Juan  de, 
born  at  Granada  in  1G27,  was  a  pupil  of  one  Andres 
Alonso  Argiielles,  and  of  Pedro  de  Moya.  He 
painted  several  pictures  for  the  churches  of  the 
Carmelite  and  Augustine  friars  at  Granada,  a  large 
'  Last  Supper '  for  the  refectory  of  the  Jesuits,  and 
others  for  the  monastery  of  St.  Jerome.  An  '  En- 
tombment' in  the  Dresden  Gallery  is  probably  hia 
worli.     He  died  at  Granada  in  1695. 

SEVIN,  Jean,  a  Belgian  architectural  and 
decorative  painter,  was  painting  in  1750. 

S:6VIN,  Pierre  Paul,  painter,  born  at  Toumon, 
France,  about  1650.  He  settled  at  Lyons,  where  he 
became  a  portrait  painter  of  some  repute.  Several 
engravings  were  made  after  his  designs,  represent- 
ing events  of  Louis  XIV.' s  reign.  They  bear  dates 
from  1685  to  1701.  Some  of  his  portraits  were 
also  engraved,  among  them  one  of  Mdlle.  de  la 
Valliere.  In  the  Toulouse  Museum  there  is  an 
'  Alexander  and  Diogenes '  by  him.  He  died  at 
Rome  in  1676. 

SEYDELMANN,  Apollonie,  of  the  de  Forgue 
family,  wife  of  J.  C.  Seydelmann,  was  born  at 
Venice  in  1767,  or  Trieste  in  1768.  She  obtained  a 
great  reputation  for  her  small  copies  in  sepia  of 
the  works  of  Raphael,  Correggio,  Guido,  Cantarini, 
Cignani,  Domenichino,  Carlo  Dolci,  and  others. 
She  also  excelled  in  miniature  painting.  In  1789 
she  accompanied  her  husband  to  Italy,  and  assisted 
him  in  his  larger  works.  She  was  a  member  of 
the  Dresden  Academy.  She  died  at  Dresden  in 
1840. 

SEYDELMANN,  Jakob  Crescentius,  was  bom 
at  Dresden  in  1760.  He  received  his  instruction 
from  Bernardo  Bellotti  and  Casanova.  Subse- 
quently he  went  to  Rome  under  the  patronage  of 
the  Elector,  and  formed  a  friendship  with  Rafael 
Mengs,  under  whose  advice  he  made  many  draw- 


PAINTERS  AND  ENGRAVERS. 


ings  from  the  antique  and  after  tbe  great  Italians. 
These  he  finished  in  sepia  in  a  manner  entirely  his 
own,  and  they  sold  readily  to  English  visitors.  On 
his  return  home  he  was  appointed  Professor  of 
Drawing  to  the  Academy  of  Dresden,  and  he  was 
elected  a  member  of  several  foreign  Academies.  In 
1788  he  commenced  copying  the  principal  pictures 
in  the  Dresden  Gallery,  for  the  engravers.  Later 
in  life  he  paid  more  visits  to  Rome,  and  was  for  a 
time  at  St.  Petersburg.  Several  portraits  and  alle- 
gories by  Seydelmann  have  been  engraved.  There 
is  also  an  etching  by  him,  after  J.  F.  Bloemen,  of 
a  figure  bathing  in  a  cavern.  His  vogue  lasted 
untu  his  death,  which  occurred  at  Dresden  in 
1829 
SEYFFARTH,  Louise.  See  Sharpe. 
SEYFFEK,  AnaosT,  painter  and  engraver,  born 
at  Lauffen  on  the  Neckar  in  1774,  received  his 
first  education  in  Stuttgart,  and  then  went  to 
Vienna,  where  he  made  a  name  by  six  landscape 
etchings.  He  afterwards  engraved  some  views  of 
the  neighbourhoods  of  Stuttgart  and  Tiibingen  in 
the  style  of  Woollett,  and  became  Keeper  of  En- 
gravings in  Stuttgart.     He  died  in  1845. 

SEYFFERT,  Johann  Gotthold,  engraver,  born 
at  Dresden  in  1760,  was  instructed  in  drawing  by 
Casanova,  and  in  engraving  by  the  elder  Stblzel. 
He  was  employed  by  Hofrath  Becker  in  engraving 
some  of  the  plates  for  '  The  Augusteum.'  He  was 
a  master  in  the  Dresden  Academy.  He  died  in 
1824. 

SEYMOUR,  Colonel,  amateur,  a  successful 
painter  of  miniatures  in  the  reign  of  Queen  Anne. 

SEYMOUR,  Edward,  painted  portraits  in  Eng- 
land in  the  first  part  of  the  18th  century,  in  the 
manner  of  Kneller.  He  died  in  1757,  and  was 
buried  in  Twickenham  churchyard. 

SEYMOUR,  James,  born  in  London  in  1702,  the 
only  son  of  a  banker,  who  was  a  great  lover  of  art, 
drew  well  himself,  and  lived  in  habits  of  intimacy 
with  Sir  Peter  Lely  and  other  painters  of  his  time. 
He  excelled  in  sketching  horses,  but  he  was  a  weak 
colourist,  and  few  of  his  works  are  known.  Houston 
and  Burford  engraved  after  him.  He  died  in 
London  in  1752. 

SEYMOUR,  Robert,  caricaturist,  bom  in  London 
in  1800,  served  an  apprenticeship  to  a  Spitalfields 
silk  designer  in  his  early  years.  He  afterwards 
turned  to  a  higher  walk  in  art,  and  painted  at  first 
historical  pictures  and  portraits.  His  attention  then 
gradually  turned  to  the  illustration  of  books,  which 
were  mostly  comic.  Among  these  were  '  The  Odd 
Volume,'  '  The  Comic  Magazine,'  '  Figaro  in  Lon- 
don,' '  Vagaries  in  quest  of  the  wild  and  won- 
derful,' '  Tbe  Book  of  Christmas,'  '  The  Looking- 
glass,'  'The  Schoolmaster  abroad,'  '  New  Readings 
of  Old  Authors,'  and  '  Humorous  Sketches.'  But 
Seymour  will  be  remembered  as  the  first  illustrator 
of  '  Pickwick,'  and  as  the  creator  of  the  types  of 
Pickwick,  Winkle,  and  Tupman,  on  which  no  suc- 
cessor has  contrived  to  improve.  In  1836,  how- 
ever, when  only  a  few  numbers  of  '  Pickwick '  had 
been  published,  he  committed  suicide. 

SEZENIUS,  Valentine,  a  German  engraver, 
who  flourished  about  the  year  1620.  He  engraved 
some  plates  of  ornaments  and  grotteschi,  which  he 
usually  marked  with  the  initials  V.  S. 

SGUAZELLA,  Andrea, (or  Chiazzella,)  an  Italian 
painter  of  the  16th  century,  was  a  pupil  of  Andrea 
del  Sarto,  whom  ho  accompanied  to  France,  re- 
maining there  after  the  return  of  his  master  to 
Italy,  and  painting  various  pictures  at  the  Castle 


of  Semblan9ay  for  Jacques  de  Beaune.  (See  De 
Laborde,  La  Renaissance  des  Arts  d,  la  Cottr  de 
France.)  These,  however,  all  perished  at  the 
destruction  of  the  castle  in  1793,  save  the  altar- 
piece  of  the  chapel.  On  the  death  of  Jacopo  da 
Pontormo,  Sguazella  succeeded  to  his  possessions, 
as  nearest  of  kin,  in  1557.  A  '  Deposition,'  by 
Sguazella,  was  engraved  by  Enea  Vico,  with  certain 
alterations,  as  a  work  of  Raphael,  and  again,  with 
the  true  ascription,  by  A.  Girardet  for  the  Mus^e 
Napoleon. 

SHACKLETON,  John,  portrait  painter,  suc- 
ceeded Kent  as  principal  painter  to  George  11. 
There  are  portraits  by  him  of  George  II.  and  his 
Queen  in  Fishmongers'  Hall,  one  of  the  King  in 
the  Foundling  Hospital,  and  another  in  the  National 
Portrait  Gallery.  In  1755  he  was  a  member  of 
the  committee  which  made  a  futile  attempt  to  found 
a  Royal  Academy.     He  died  in  1767. 

SHALDERS,  George,  water-colour  painter,  born 
about  1826,  practised  at  Portsmouth,  and  occasion- 
ally exhibited  views  of  Surrey,  Hampshire,  and 
Irish  scenery  at  the  Academy  from  1848  onwards. 
In  1865  he  became  a  member  of  the  Institute  of 
Painters  in  water-colours,  and  was  a  frequent  ex- 
hibitor of  landscapes  with  cattle  at  their  galleries. 
The  strain  of  excessive  work  brought  on  an  attack 
of  paralysis,  and  he  died  in  1873,  after  a  few  days' 
illness,  aged  47. 

SHARP,  Michael,  portrait  and  subject  painter, 
born  in  London,  was  a  pupil  of  Sir  W.  Beechey, 
and  studied  in  the  Academy  Schools.  From  1801 
to  1818  he  exhibited  at  the  Academy  portraits  and 
portrait  groups,  but  afterwards  he  confined  himself 
to  subject  pictures.  There  is  a  portrait  of  Miss 
Duncan,  in  'The  Honey-Moon,'  by  him,  at  South 
Kensington.     He  died  at  Boulogne  in  1840. 

SHAP.P,  William,  one  of  the  most  celebrated 
of  English  line  engravers,  was  born  in  1749,  in 
London.  The  son  of  a  gunmaker,  he  was  ap- 
prenticed to  Barak  Longmate,  the  engraver  on 
plate,  who  was  also  well  skilled  in  heraldry.  At 
the  expiration  of  his  term  of  apprenticeship  he 
commenced  business  as  a  writing  engraver.  His 
first  essays  when  an  apprentice  had  been  on  pub- 
licans' pewter  pots,  and  when  his  friends  wished  to 
qualify  this  assertion  by  substituting  silver  tankards. 
Sharp  would  insist  on  the  humbler  metal.  One  of 
his  first  attempts  in  a  higher  branch  wag  to  make 
a  drawing  of  the  old  lion  Hector,  who  had  lived  in 
the  Tower  of  London  for  thirty  years,  to  engrave  it 
on  a  small  quarto  plate,  and  to  expose  the  prints 
for  sale  in  his  window.  Recognition  of  his  merit 
was,  however,  more  widely  diffused  by  his  engrav- 
ing, after  Stothard's  designs,  several  of  the  plates 
for  the  '  Novelist's  Magazine.'  He  soon  rose  above 
tlie  crowd,  and  was  employed  on  works  of  art  of 
the  highest  order,  and  proved  himself  the  worthy 
successor  of  Woollett,  but  did  not,  like  him,  extend 
his  practice  to  landscape,  except  in  backgrounds. 
His  style  is  always  masterly,  not  servilely  borrowed 
from  any  of  his  predecessors  or  contemporaries,  but 
formed  by  a  judicious  selection  from  the  merits  of 
all  who  excelled.  These  he  combined  and  blended 
in  a  manner  peculiarly  his  own,  showing  more  of 
tbe  artist  and  less  of  the  mechanic  than  any  other 
engraver  of  his  time.  His  plate  from  West's 
portrait  of  Kosciuszko  relieved  him  from  an  un- 
pleasant and,  at  that  time,  dangerous  predicament. 
He  was  suspected  of  entertaining  revolutionary 
principles,  and  was  examined  before  the  Privy 
Council.     At   one   of    these   examinations,   after 

71 


A  BIOGRAPHICAL  DICTIONARY  OF 


being  long  annoyed  by  questions  which  he  thought 
irrelevant,  he  deliberately  pulled  out  of  his  pocket 
a  subscription  list  for  the  portrait,  handed  it  to 
Pitt  and  Dundas,  requesting  them  to  have  the 
goodness  to  put  their  names  to  it  as  subscribers, 
and  then  to  pass  it  to  the  other  members  of  the 
council.  The  audacity  of  the  proposal,  at  such 
a  time,  set  them  laughing,  and  he  was  soon 
after  liberated.  Sharp  was  by  no  means  qualified 
to  be  a  conspirator  ;  he  was  fond  of  good  cheer, 
and  had  a  weakness  for  all  sorts  of  mysticism  ; 
he  believed  in  the  divine  mission  of  Richard 
Brothers,  in  the  immaculate  conception  of  Jo- 
hanna Southoote,  and  in  the  visions  of  Emmanuel 
Swedenborg.  Tlie  Imperial  Academy  of  Vienna, 
and  the  Royal  Academy  of  Munich,  each  elected 
him  an  honorary  member.  Sharp  died  at  Chiswick 
in  1824,  and  was  buried  in  the  same  churchyard  as 
Hogarth  and  De  Loutherbourg.  The  following  list 
embraces  his  principal  platee : 

Portrait  of  Joha  Bunyau. 

„  George  Washiugton. 

„  Samuel  More  ;  after  West. 

His  owu  portrait ;  after  E.  F.  Joseph, 
Portrait  of  the  Earl  of  Arundel ;  after  Van  Dyck. 

„  Lord  Duudas ;  after  Raehurn. 

„  Kosciuszko  ;  after  Stothard  and  C.  Andreas. 

,,  Dr.  Edward  Jenuer ;  after  Chohday. 

The  Magdalen  ;  after  Guido. 

Siege  and  Relief  of  Gibraltar ;  two  plates,  after  Copley, 
Landing  of  Charles  IL  ;  after  West. 
The  Doctors  of  the  Church  ;  after  Guido. 
Ecce  Homo  ;  after  the  same. 

Portrait  of  Dr.  John  Hunter  ;  after  Sir  Joshua  Reynolds, 
The  Holy  Family ;  after  the  same. 
Lear  in  the  Storm  ;  after  the  same. 
The  Witch  of  Eudor";  after  B.  West. 
Alfred  dividing  his  Loaf  with  a  Pilgrim ;  after  the  same. 
The  Children  in  the  "Wood  ;  after  JSenwell. 
St.  Cecilia ;  after  Domenichino. 
The  Sortie  from  Gibraltar  ;  after  Trumhdl. 
Portrait  of  Tom  Paine  ;  after  Romney. 
The  Portrait  of  Mr.  Boulton  ;  after  Reynolds. 
Interview  of  Charles  I.  with  his  children  ;  after  Wood- 
ford. 
Boadicea  haranguing  the  Britons  ;  after  Stothard, 
'  Lucretia  '  and  *  St.  Cecilia  ' ;  after  Domenichino. 
The  three  Marys  and  dead  Christ;  after  An.  Carracci, 
from  the  picture  at  Castle  Howiird,  but  left  unfinished. 
Sharp  completed  "Woolletfs  unfinished  plate  after  West's 
'  Landiug  of  Charles  II.' 

The  British  Museum  contains  a  complete  collection 
of  Sharp's  engravings,  in  a  variety  of  states. 

SHARPE,  Charles  Kirkpateick,  was  bom  at 
Hoddam  Castle,  Dumfriesshire,  on  May  15,  1781. 
He  belonged  to  the  old  Scotch  family  of  Mar,  and 
was  related  to  the  royal  race  of  Stewart.  After 
attending  classes  for  atime  at  Edinburgh  University 
he  entered  Christ  Church,  Oxford,  in  1798,  and  as 
an  undergraduate  was  famous  for  his  water-colour 
portraits  of  the  Dean  and  his  fellow-students.  On 
leaving  Oxford  he  went  to  reside  at  Edinburgh, 
and  became  one  of  the  foremost  antiquaries  of 
Scotland,  with  a  keen  appreciation  of  the  best  in 
modern  art.  His  work  as  a  painter  and  etcher, 
and  also  as  a  poet,  was  that  of  a  cultured  amateur, 
but  won  considerable  popularity.  His  first  etching 
was  a  striking  caricature  of  Mme.  de  Stael,  on  the 
occasion  of  her  visit  to  Edinburgh  in  1813.  In 
1819  he  supplied  an  etching  to  Hogg's  '  Witch  of 
Fife,'  and  in  1823  executed  frontispieces  for  Laing's 
'  Fugitive  Scottish  Poetry,'  and  otlier  works.  In 
1836  he  etched  frontispieces  for  the  Abbotsford 
Club  publications  of  the  '  Romances  of  Otuel '  and 
'  Roland  and  Vernagu,'  and  a  vignette  for  a  poem 
72 


called  '  Flora's  FSte.'  '  Etchings  by  C.  K.  Sharpe,' 
published  at  Edinburgh  in  1869,  contains  a  memoir 
of  the  artist,  with  reproductions  of  several  drawings 
and  his  twenty-seven  etchings.  In  1850  liis  health 
gave  way,  and  in  March  1851  he  died  after  a  brief 
illness.  11.  H, 

SHARPE,  Charlotte,  the  eldest  daughter  of 
William  Sharpe  the  engraver,  and  sister  of  Louisa 
Sharpe,  who  married  Professor  SeyfTarth.  From 
early  days  she  was  very  skilful  at  sketching 
portraits,  and  in  1817,  when  she  is  believed  to 
have  been  eighteen  years  old,  she  commenced  to 
exhibit.  She  married  soon  afterwards  a  Captain 
Jlorris,  who  turned  out  to  be  a  most  unsatisfactory 
person,  and  the  sustenance  of  herself  and  her  two 
children  depended  upon  her  efforts.  She  executed 
a  great  many  pencil  portraits  tinted  with  colour, 
and  a  few  water-colour  landscapes,  and  sustained 
her  children  till  1849,  when  she  died. 

SHARPE,  BLlz.i,  sister  of  Louisa  and  Charlotte 
Sharpe,  practised  as  a  water-colour  painter,  and 
was  elected  a  member  of  the  Old  Society  in  1829. 
She  occasionally  exhibited  at  the  Academy  and  at 
the  Water-Colour  Society's  Galleries  until  1872, 
when  she  resigned.  In  her  last  years  she  found 
employment  chiefly  as  a  copyist  at  the  South 
Kensington  Museum.  She  died  at  Chelsea  in 
1874. 

SHARPE,  Louisa,  born  in  London  about  1800, 
began  her  career  with  miniatures  and  portraits,  and 
then  took  to  genre  paintmg  in  water-colours.  In 
1829,  the  same  year  as  her  sister,  she  was  elected 
a  member  of  the  Society  of  Painters  in  Water- 
Colours.  In  1834  she  married  Dr.  SeyfTarth,  of 
Dresden,  and  settled  in  that  city,  where  she  died  in 
1843. 

SHARPE,  Mary  Anne,  a  younger  daughter  of 
William  Sharpe  the  engraver,  and  sister  of  Louisa 
Sharpe,  who  married  Professor  Seyffarth.  She 
exhibited  several  portraits  at  the  Royal  Academy 
from  1820,  and  during  a  considerable  part  of  her 
life  lived  with  her  sister  Charlotte,  and  assisted  her 
very  much  in  her  struggles.  Mary  Anne  Sharpe 
became  a  member  of  the  Society  of  British  Artists 
in  1830,  and  sent  several  of  her  pictures  to  the 
gallery  of  that  Society.  She  was  "  a  gentle,  refined, 
retiring  lady,"  says  Miss  Clayton,  "  beloved  by  all 
who  knew  her,  talented  and  industrious,"  but 
neither  she  nor  her  sister  Charlotte  was  as  clever 
as  the  second  daughter,  Louisa,  whose  work  was 
particularly  popular,  and  who  was  able  to  acquire 
a  small  fortune  of  her  own.  Unfortunately,  a 
serious  disease,  believed  to  have  been  cancer, 
attacked  each  of  the  members  of  the  Sharpe 
family,  and  occasioned  their  death  under  painful 
circumstances.     Mary  Anne  Sharpe  died  in  1867. 

SHARPLES,  Felix.  This  was  the  eldest  son  of 
.James  Sharpies,  born  in  1794,  and  he  is  believed 
to  have  died  about  1814  in  North  Carolina,  where 
he  lived  after  his  father's  decease.  He  was  a 
clever  portrait  painter,  and  was  very  popular 
amongst  the  settlers  in  that  colony,  in  many  of 
whose  houses  his  portraits  are  to  be  found. 

SHARPLES,  James,  a  working  blacksmith,  bom 
in  1825,  the  eldest  of  a  very  large  family,  and 
brought  up  as  a  boiler-maker.  From  his  earliest 
recollection  he  employed  himself  in  drawing  and 
in  copying  all  the  pictures  upon  which  he  could 
lay  his  hands.  When  a  lad  he  attended  a  draw- 
ing-class held  at  Bury,  and  by  dint  of  considerable 
deprivation  managed  to  purchase  some  books  on 
drawing  and  painting,  to  make  his  own  palette 


PAINTERS  AND  ENGRAVERS. 


and  easel,  and  to  buy  some  rough  colours  and 
brushes,  with  which  he  set  to  work  to  paint  a 
picture  which  he  called  '  The  Forge.'  He  made 
four  attempts  at  painting  this  picture,  giving  up 
each  successive  attempt  almost  in  despair,  but  at 
length  he  produced  it,  and  then  determined  to 
engrave  it.  He  taught  himself  the  process  of 
steel  engraving,  and  produced  a  remarkable  work, 
partially  in  line  engraving,  and  partially  in  a  species 
of  mezzotint,  which  created  amongst  his  associates 
very  considerable  astonishment.  He  painted  several 
portraits,  not  only  of  his  companions,  but  of  people 
known  in  the  place,  and  produced  another  large 
composition  entitled  'The  Smithy.'  He  was  never 
able  to  give  up  his  whole  time  to  artistic  work, 
but  only  employed  himself  in  the  intervals  of  his 
duties  at  the  forge.  He  was  a  man  who  filled  up 
every  spare  moment  of  his  time,  travelled  far  and 
wide  in  his  immediate  neighbourhood  to  see 
pictures,  and  was  always  studying  them  with  the 
greatest  assiduity.  Under  happier  circumstances 
and  with  greater  encouragement  he  might  have 
been  an  eminent  artist,  but  the  demands  of 
a  family  never  enabled  him  to  relinquish  his 
work.  He  died  in  1893.  His  career  came 
under  the  notice  of  Dr.  Smiles,  who  gave 
considerable  attention  to  it  in  his  work  entitled 
'Self-Help.' 

SHARPLES,  James.  During  this  artist's  resid- 
ence in  America  he  spelt  his  name  with  the 
addition  of  a  second  "  s,"  thus,  Sharpless,  and  is 
always  known  iu  the  States  under  this  name.  His 
special  fame  consists  in  the  fact  that  George 
Washington  sat  to  him  in  1796,  and  the  profile 
portrait  which  he  painted  had  so  great  a  reputation 
that  very  many  copies  of  it  were  made  by  his  wife 
and  daughter  Rolinda,  in  order  to  supply  the 
demand  for  it.  One  of  these  copies  is  in  the 
National  Portrait  Gallery  and  is  the  work  of  Mrs. 
Sharpies,  and  another  example  of  her  ability  is  to 
be  seen  in  the  same  Gallery,  a  portrait  of  Dr. 
Priestley,  drawn  by  her  in  pastels.  Sharpies  was 
born  in  about  1750,  and  was  first  of  all  intended 
for  the  Catholic  priesthood,  but,  finding  he  had  no 
vocation,  became  an  artist.  He  exhibited  at  the 
Royal  Academy  in  1779  and  1785,  but,  marrying 
a  lady  of  French  extraction  who  had  relations  in 
America,  he  determined  to  leave  England.  The 
vessel  in  which  he  travelled  fell  into  the  hands  of 
the  French,  and  for  a  while  he  and  his  wife  had  to 
spend  some  time  near  Cherbourg,  but  he  reached 
New  York  in  1796,  and  at  once  became  popular 
for  his  small  portraits  in  pastel  and  his  miniatures. 
He  died  in  New  York  in  1811,  and  his  wife, 
leaving  one  son,  Felix,  in  America,  returned  to 
England,  where  she  died. 

SHARPLES,  Mrs.,  portrait  painter,  born  at 
Birmingham  about  1755,  was  the  wife  of  an  Eng- 
lish artist  practising  in  America.  On  his  death 
in  1811  she  returned  to  England  and  exhibited 
miniatures  of  General  Washington  and  Dr.  Priestley 
at  the  Academy.  She  afterwards  settledat  Bristol, 
where  she  died  in  1849.  Mrs.  Sharpies  appears 
to  have  succeeded  to  some  money  during  the 
latter  part  of  her  life,  and  also  was  herself  a 
clever  artist,  exhibiting  many  times  at  the  Royal 
Academy,  and  painting  pictures  in  oil,  water- 
colour,  and  pastel  of  important  people  in  the 
neighbourhood  of  Bristol.  She  had  to  do  with 
the  foundation  of  the  Academy  of  Arts  in  that 
city,  and  gave  a  considerable  sum  of  money 
towards  it,  besides  bequeathing  to  it  pictures  by 


herself,  and  examples  of  the  work  of  her  husband, 
son,  and  daughter,  and  the  remainder  of  her 
estate.  Her  son  James  exhibited  portraits  occa- 
sionally at  the  Academy.  He  practised  at  Bristol, 
where  he  died  in  1839. 

SHARPLES,  Rolinda,  the  daughter  of  James 
Sharpies,  born  about  1797,  soon  after  the  family 
had  settled  in  New  York.  She  was  a  member  of 
the  Society  of  British  Artists,  a  clever  portrait 
painter,  and  also  produced  some  large  subject 
pictures  having  to  do  with  local  events  at  Bristol, 
where  she  resided  with  her  mother  from  1812. 
She  died  at  Bristol  in  1838. 

SHAW,  Henry,  draughtsman  and  engraver,  was 
born  in  London  in  1800,  and  assisted  Britton  with 
his  English  cathedrals,  supplying  most  of  the 
illustrations  for  Wells  and  Gloucester.  His  first 
independent  work  was  'The  Antiquities  of  Luton 
Chapel,'  which  was  followed  by  'Details  of  Gothic 
Architecture,'  and  a  splendid  series  of  illuminated 
works,  comprising 'Illuminated  Ornaments,'  'Speci- 
mens of  Ancient  Furniture,'  '  Ancient  Plate  and 
Furniture,' '  Dresses  and  Decorations  of  the  Middle 
Ages'  (1839),  'The  Encyclopedia  of  Ornament' 
(1842),  'Alphabets,  Numerals,  and  Devices  of  the 
Middle  Ages' (1845),  'Decorative  Arts  of  the 
Middle  Ages'  (1851),  'The  Handbook  of  Mediajval 
Alphabets,'  'Arms  of  the  Colleges  of  Oxford' 
(1855),  'Ornamental  Tile  Paintings'  (1858).  He 
died  in  London  in  1873. 

SHAW,  James,  devoted  himself  chiefly  to  the 
painting  of  horses.  He  built  an  addition  to  his 
studio  in  Mortimer  Street,  Cavendish  Square,  for 
their  accommodation.  He  exhibited  with  the 
Society  of  Artists  in  1761,  and  died  about  1772. 

SHAW,  James,  portrait  painter,  was  a  native  of 
Wolverhampton,  and  was  placed  as  a  pupil  with 
Edward  Penn}-.  He  painted  portraits  with  some 
success,  and  towards  the  latter  part  of  his  life 
resided  in  Charlotte  Street,  Fitzroy  Square,  where 
he  died  about  the  year  1784. 

SHAW,  Joshua,  a  self-taught  artist,  was  born  at 
Bellingborough,  in  Lincolnshire,  in  1776.  He  was 
left  an  orphan  at  an  early  age,  and  apprenticed 
to  a  country  sign-painter.  When  his  time  expired 
he  set  up  for  himself  in  the  same  trade  at  Man- 
chester, and  married.  He  afterwards  turned  to 
other  branches  of  art,  and  tried  his  hand  on  flower- 
pieces,  still-life,  and  landscape,  chiefly  copying 
the  old  masters.  He  came  to  London  and  exhibited 
some  of  his  works,  which  attracted  the  attention 
of  dealers,  who  employed  him  to  copy  landscapes 
with  cattle  by  Berchera,  Gainsborough,  and  others, 
which  were  sold  as  originals.  After  a  time  he 
emigrated  to  America,  where  he  carried  on  the 
same  proceedings  and  also  developed  a  genius  for 
mechanics.     The  date  of  his  death  is  unknown. 

SHAYER,  William,  was  born  at  Southampton 
in  1788.  From  1824,  the  date  of  the  foundation 
of  the  Society  of  British  Artists,  to  1873,  he  was 
a  constant  and  most  prolific  contributor  to  theii 
exhibitions,  exhibiting  frequently  seven  or  eight, 
and  occasionally  twelve,  works  a  year.  He  was 
elected  a  member  in  1862.  He  died  at  Shirley, 
near  Southampton,  in  1879.  His  works  mostly 
represent  cattle  and  sheep. 

SHEE,  Sir  Martin  Archer,  born  in  Dublin  in 
1769,  was  the  son  of  a  merchant.  He  was  taught 
at  the  Drawing  School,  Dublin,  but  went  to  London 
in  1788,  and  entered  the  Academy  in  1790.  On 
his  arrival  in  London  he  made  the  acquaintance  of 
Reynolds   through    Burke's   introduction,   but   for 

73 


A  BIOGRAPHICAL  DICTIONARY  OF 


a  time  suffered  considerable  privation  through 
his  refusal  to  ask  help  from  his  relatives.  He 
soon,  however,  gained  a  footing  by  his  portraits 
of  well-known  actors,  such  as  Lewis,  Stephen 
Kemble,  Fawoett,  Pope,  and  others.  He  also 
painted  several  historical  pictures,  '  Jephthah's 
Daughter,'  'Lavinia,'  'Belisarius,'  'Prospero  and 
Miranda.'  He  also  painted  portraits  of  the  Duke 
of  Clarence,  William  IV.,  Queen  Adelaide,  Queen 
Victoria,  and  Prince  Albert.  In  1796  he  took  a 
large  house  in  Golden  Square,  and  married.  Two 
years  later  he  moved  to  the  house  in  Cavendish 
Square  in  which  he  lived  for  the  rest  of  his  life. 
In  1805  he  published  'Rhymes  on  Art' ;  in  1809  a 
sequel  called  'Elements  of  Art';  and  some  years 
later  '  Alasco,  a  Tragedy,'  which  was  only  published 
after  it  had  been  banished  from  the  stage  by 
the  Lord  Chamberlain.  In  1829  he  published  an 
anonymous  novel,  'Old  Court.'  In  1798  he  had 
been  elected  an  associate,  and,  in  1800,  a  mem- 
ber of  the  Academy,  and  in  1830,  on  the  death 
of  Lawrence,  he  was  promoted  to  be  President. 
He  died  at  Brighton  in  1850.  Shee's  art  was  solid 
and  commonplace,  but  not  without  dignity.  One 
of  liis  best  pictures  is  the  portrait  of  Lewis,  the 
actor,  now  in  the  National  Gallery. 

SHEEPSHANKS,  John.  A  few  words  should 
be  given  to  this  great  collector,  (who  by  his  gift 
of  two  hundred  and  thirty-three  pictures  in  oil, 
and  two  hundred  and  eighty-nine  drawings  and 
sketches,  presented  to  the  nation  in  1857,  so 
greatly  enriched  the  national  collection,)  inasmuch 
as  his  own  water-colour  sketches  were  distinctly 
above  the  average.  He  was  born  at  Leeds  in 
1787,  and  early  developed  a  taste  for  picture  col- 
lecting. "  He  was  of  a  retiring  and  unostentatious 
disposition,"  so  states  a  connection  of  his,  and  he 
died  in  London,  unmarried,  on  October  5,  1863. 
His  great  gift  was  made  with  a  view  to  the 
education  of  students,  and  he  desired  it  should  be 
open  for  study  on  Sundays  as  well  as  on  week- 
days, and  did  not  fetter  the  collection  otherwise 
with  any  spec'al  provisos.  His  own  sketches  were 
generally  landscapes,  but  in  some  cases  were 
clever  drawings  in  smaller  size  of  the  pictures  he 
presented  to  the  nation.  Other  members  of  his 
family  were  grent  picture  collectors,  and  there  are 
several  very  line  works  in  the  possession  of  his 
nephew,  the  Rev.  T.  Sheepshanks  of  Harrogate, 
especially  some  celebrated  portraits  in  pastel  by 
Russell. 

SHEFFIELD,  Gecrge,  painter,  was  bom  at 
Wigton,  Cumberland,  on  January  1,  1839.  As  a 
child,  however,  he  settled  with  his  parents  at 
Warrington,  and  afterwards  at  Manchester.  He 
studied  at  the  Manchester  School  of  Art,  and  for 
a  time  was  occupied  in  making  designs  for  calico- 
printing.  He  soon  devoted  his  whole  time  to 
water-colour  painting,  and  in  1865  left  Manchester 
for  Bettws-y-Coed.  Here  he  worked  assiduously 
at  landscape,  and  in  1868  exhibited  at  the  Royal 
Institution  Academy  at  Manchester  a  view  of 
Llyn  Idwal,  and  of  the  Fairy  Pool  on  the  Conway. 
He  was  still  better  represented  in  the  following 
year,  and  was  elected  an  Associate  of  the  Manchester 
Academy,  becoming  a  full  member  in  1871. 
About  this  time  he  removed  to  Wilmslow,  and 
produced  a  long  series  of  pictures  and  black-and- 
white  drawings.  Among  his  best  sea-pieces  may 
be  mentioned  :  '  The  Passing  Storm — Holland,' and 
'The  Scheldt'  (1875);  and  '  Bunbeg  Bar,  Coast  of 
Donegal '  (1876).     In  his  later  days  he  worked  in  I 

74 


oil  as  well,  and  his  oil-painting  '  A  Hundred  Years 
Ago'  (1890)  was  purchased  by  the  Manchester 
Corporation  for  the  City  Art  Gallery.  Sheffield 
exhibited  in  London,  between  1872  and  1890,  six 
landscapes  at  the  Royal  Academy.  He  died  on 
October  2,  1892.  if.  Hi 

SHELLEY,  Samuel,  painter  and  engraver,  bom 
in  Whitechapel  about  1750.  He  received  little 
instruction  in  art,  but  greatly  admiring  Reynolds, 
he  copied  much  from  him,  and  so  acquired  his  ex- 
cellent style,  attaining  in  particular  a  tine  harmony 
and  richness  in  colour.  He  became  famous  as  a 
painter  of  miniatures,  dividing  the  patronage  of 
the  day  with  Cosway  and  Engleheart.  He  also  pro- 
duced mythological  and  historical  subjects  in  mini- 
ature, such  as  '  Psyche,'  '  Nymphs  feeding  Pe- 
gasus,' 'Cupid  turned  Watchman,'  'Cupid  solicits 
ne%v  Wings,'  '  Love's  Complaint  to  Time,'  all  of 
which  were  exhibited  at  the  opening  show  of  the 
Water-Colour  Society  in  1805.  He  was  one  of  the 
original  members  of  this  society,  which  was  planned  ■ 
at  his  house.  The  few  engravings  he  executed 
were  after  his  own  works.  He  made  some  ill-drawn 
designs  for  book  illustration.  He  died  in  London, 
December  22,  1808.  There  are  good  examples  of 
his  miniatures  at  South  Kensington. 

SHENTON,  Henry  Chawner,  engraver,  bom  at 
Winchester  in  1803,  was  among  the  best  of  the 
English  line  engravers.  He  was  a  pupil  of  Geo. 
Warren,  whose  daughter  he  married.  He  died  in 
London  in  1866,  having  become  partially  blind 
some  time  before.     His  best  plates  are  : 

The  Stray  Kitten  ;  after  Collins. 

The  Loan  of  a  Bite  ;  after  Mulready. 

Country  Cousins  ;  after  Redgrave. 

The  Generosity  of   Richard   Coeur  de  Lion ;  after   J. 

Cross  ;  for  the  London  Art  Union. 
Some  good  plates  for  Findeu's  '  Annual  of  British  Art,' 

and  the  Annuals. 

SHEPHARD, William,  portrait  painter,  practised 
in  the  reign  of  Charles  II.  A  portrait  by  Iiim  is 
extant  of  Thomas  Killigrew,  the  jester,  with 
his  dog,  engraved  by  Faithornc.  He  is  said  to 
liave  died  in  Yorkshire.  Francis  Barlow  was  his 
pupil. 

SHEPHEARD,  George,  water-colour  painter, 
studied  in  the  schools  of  the  Royal  Academy,  and 
from  1811  to  1830  occasionally  exhibited  landscapes 
from  Surrey  and  Sussex.  At  South  Kensington 
tliere  are  by  him:  'The  Vale  of  Health,  Hamp- 
stead,' a 'Coast  Scene,'  and  'Roslin  Chapel,  near 
Edinburgh.' 

SHEPHEARD,  George  Wallwyn,  water-colour 
painter,  the  eldest  son  of  George  Shepheard,  was 
born  in  1804.  He  travelled  much  in  France,  Ger- 
many, and  Italy,  and  exhibited  many  landscape 
views  and  studies  at  the  Academy  from  1830  to 
1851.  He  died  in  1852.  His  brother,  Lewis  H. 
Shepheard,  also  an  artist,  published  sixteen  of  his 
sketches,  in  1873. 

SHEPHERD,  George,  engraver,  bom  about 
1760,  practised  in  London.  He  produced  many 
plates,  etched,  and  finished  in  mezzotint.  Of  these 
the  best  are,  the  '  Attitudes '  of  Lady  Hamilton,  in 
fifteen  plates,  and  '  The  Fleecy  Charge,'  after  Mor- 
land.  He  also  engraved  a  considerable  number  of 
portraits. 

SHEPHERD,  George  Sydney,  water-colour 
painter,  exhibited  at  the  Academy  between  1831 
and  1837.  He  became  a  member  of  the  New  So- 
ciety of  Painters  in  Water-Colours  in  1833,  at  about 
which  time  he  exhibited  chiefly  metropolitan  build- 


PAINTERS  AND  ENGRAVERS. 


ings,  '  Old  Covent  Garden  Market,'  '  Old  London 
Bridge,'  &o.  He  made  drawings  for  C.  Clarke's 
'  Architectura  Ecclesiastica  Londini,'  and  W.  H. 
Ireland's  '  England's  Topographer.'  At  South 
Kensington  there  is  by  him,  '  'The  Kilns,  1831,'  a 
good  example  of  his  work.  His  name  disappears 
after  1860. 

SHEPHERD,  Robert,  supposed  to  have  been  a 
pupil  of  David  Loggan,  was  a  native  of  England, 
and  flourished  about  the  year  1660.  He  engraved 
a  few  laborious  portraits  in  line,  as  well  as  reduced 
copies  of  Gerard  Audran's  plates  after  Le  Bran's 
'  Battles  of  Alexander.' 

SHEPHERD,  Thotias  Hosmer.  Very  little  is 
known  of  this  topographical  artist.  He  is  believed 
to  have  been  born  about  1824,  and  probably  died 
in  1842.  It  is  quite  possible  that  he  was  a  brother 
of  George  Sydney  Shepherd,  but  the  fact  has  not 
been  determined  definitely.  As  a  young  man  he 
was  taken  up  by  Mr.  Frederick  Grace,  and  em- 
ployed all  over  London  in  making  water-colour 
sketches  of  old  buildings,  and  many  hundreds  of 
these  drawings  are  now  in  the  British  Museum. 
He  illustrated  several  books  on  London,  and  in 
many  cases  it  is  to  his  industry  we  owe  the  sole  re- 
cord of  important  buildings  long  since  swept  away. 

SHEPPARD,  William,  a  somewhat  mysterious 
portrait  painter,  who  is  mainly  known  from  the  fact 
that  he  painted  several  portraits  of  Thomas  Killi- 
grew  the  dramatist.  One  of  these  is  at  Woburn 
Abbey,  and  it  was  engraved  by  Faithorne.  He  is 
believed  to  have  been  born  about  1602,  and  is  said 
to  have  died  about  1660,  somewhere  in  Italy,  but 
the  only  fact  definitely  known  about  him  was  that 
in  1650  he  was  resident  at  Venice. 

SHERIDAN,  J.,  portrait  painter,  -was  born  in 
Kilkenny  county.  He  studied  for  a  time  at  the 
Dublin  Academy,  and  then  came  to  London.  He 
exhibited  at  tlie  Academy  from  1785  to  1789,  but 
hisinsufScient  education  prevented  him  from  reach- 
ing success.     He  died  in  London  in  1790. 

SHERIFF,  Charles,  (or  Sherriff,)  a  deaf  and 
dumb  painter,  who  practised  in  Edinburgh  in  the 
second  half  of  the  18th  century.  In  1773  he 
came  to  London,  where  he  was  well  received,  and 
took  a  place  among  the  fashionable  miniaturists  of 
the  day.  In  1796  he  was  established  at  Bath,  where 
he  remained  for  some  years.  He  afterwards  went 
to  India  and  there  exercised  his  profession  with 
great  success,  but  returned  and  died  at  Bath. 

SHERIFF,  William  Craig,  u  young  Scotch 
painter,  born  near  Haddington,  October  26,  1786. 
He  studied  at  the  Trustees'  Academy,  Edinburgh, 
and  much  was  hoped  from  the  great  promise  dis- 
played in  his  first  important  work,  'The  Escape  of 
Queen  Mary  from  Lochleven.'  While  engaged  on 
this  work  he  was  seized  with  a  rapid  consumption. 
He  lived  just  long  enough  to  finish  his  picture, 
which  was  engraved  by  W.  H.  Lizars,  and  died 
March  17,  1805,  at  the  age  of  nineteen. 

SHERLOCK,  William,  painter  and  engraver, 
the  son  of  a  prize-fighter,  was  bom  at  Dublin  about 
1738.  He  studied  at  the  St.  Martin's  Lane  Academy, 
in  London,  and  afterwards  under  Le  Bas,  in  Paris. 
He  exhibited  portraits  both  in  oil  and  water-colours 
with  the  Incorporated  Society  from  1764  to  1777, 
and  at  the  Academy  from  1802  to  1806.  He  occa- 
sionally painted  miniatures,  and  was  also  known  as 
an  engraver,  both  of  landscapes  and  portraits,  his 
chief  plates  being  a  series  of  portrait  heads  for 
Smollett's  '  History  of  England.' 

SHERLOCK,  William  P.,  painter  and    topo- 


graphical draughtsman,  was  bom  about  1780.  He 
imitated  Richard  Wilson,  under  whose  name  his 
pictures  have  been  occasionally  sold.  From  1796 
to  1810  he  exhibited  architectural  views  at  the 
Royal  Academy,  and  in  1811  he  published  a  series 
of  soft-ground  etchings,  after  Girtin,  Payne,  Powell, 
and  others.  He  also  engraved  some  copies  of  rare 
portrait  plates,  and  drew  many  of  the  illustrations 
for  Dickinson's  '  Antiquities  of  Nottinghamshire.' 

SHERWIN,  Charles,  an  engraver  who  worked 
with   his  brother,  J.  K.  Sherwin,  and  did  a  few 
plates  independently  of  him.     He  died   in   1794, 
and  is  said  to  have  been  about  thirty  years  of  age. 
SHERWIN,  John  Keyse,  an  engraver,  was  born 
in  1751,  at  Eastdean,  in  Sussex,  where  his  father 
was  a  cutter  of  wooden  bolts  for  ships,  a  trade  he 
himself  followed  till  he  was  about  sixteen,  when 
his  artistic  gift   attracted   the   attention  of  some 
helpful  friends.     He  was  placed  first  under  Astley 
and  then  under  Bartolozzi  to  learn  drawing  and 
engraving.     Under  these  masters  he  made   rapid 
progress,  and  in   1772  gained  the  gold  medal  of 
the  Royal  Academy  for  a  picture   of  '  Coriolanus 
taking  leave  of  his  Family.'     His  name  is  to  he 
found  in  the  exhibition  catalogues  of  the  Royal 
Academy  from  1774  to  1780,  as  an  exhibitor  of 
chalk    drawings,    some    copies,    some    originals; 
among  the  latter  was  one  dealing  with  the  story 
of  Galatea  from  Ovid,  and  another  described  as 
'  Leonidas  taking  leave  of  his  Family.'     One  of  his 
drawings  attracted  much  attention;  it  was  called 
'  The  Joys  of  Life,'  and  was  executed  in  red  and 
black  chalk  with  colour  washes,  in  the  manner  of 
Bartolozzi.     It  is   said   that   Bartolozzi  employed 
him  on  his  plate  of  '  Clytie,'  after  Annibale  Carracci, 
but  in  his  own  larger  works  his  style  is  more  like 
that  of   Woollett   than   that   of    Bartolozzi.     His 
plates  from  his  own  compositions  are  unpleasing, 
but  'The  finding  of  Moses,'  in  which  the  beautiful 
Duchess  of   Devonshire   represents   the  daughter 
of  Pliaraoh,  and  several  other  ladies  of  rank  and 
fashion   her  attendants,  had    a   great   success    in 
its  time.     On  the  death  of  Woollett,  Sherwin  was 
appointed  engraver  to   the  king.     Owing   to   his 
many  follies  he  fell  into  poverty,  and  died  at  a 
tavern  which  formerly  stood  where  Swallow  Street 
joins   Oxford   Street,    in    1790.     Another   account 
says  he  died  in  the  house  of  a  printseller  on  Corn- 
hiil.    He  was  buried  at  Hampstead.    The  following 
are  his  best  plates  : 
■William  Pitt,  Earl  of  Chatham ;  after  Wilton.'' 
George  Nugent  Granville  Temple,  Marquis  of  Bucking- 
ham ;  after  Gainshorouyh. 
Dr.  Louth,  Bishop  of  London  ;  after  Fine. 
Captain  James  Cook  ;  after  Dance. 
Sir  Joshua  Reynolds  ;  after  a  picture  ly  himself. 
William  Woollett,  Engraver  to  the  King. 
Mrs,  Siddons.in  the  character  of  the  Grecian  Daughter. 
The  Holy  Family  ;  after  Carlo  jVaratti. 
Christ  bearing  the  Cross ;  after  the  picture  by  Guido  in 

the  chapel  of  Magdalene  College,  Ojford. 
Christ  appearing  to  Magdalene;   after  Guido's  picture 

at  All  iSoitls'  College,  Oxford. 
The  Holy  Family ;  after  Carlo  Maratti. 
The  Fortune-teller  ;  after  Reynolds. 
The  Death  of  Lord  Robert  Manners  ;  after  Stothard 
The  Holy  Family  ;  after  Pietro  da  Cortona. 
The  Virgin  and  Child  ;  after  xV.  Pouisin. 
Noli  me  Taugere  ;  after  Mengs. 
SHERWIN,  William,  an  English  engraver,  born 
at  Wellington,  in  Shropshire,  and  flourished  from 
about  1670  to   about  1711.     It  is  not  known  by 
whom  he  was  taught.     His  plates  are  not  numerous, 
though  he  was  active  for  many  years.     We  have 

75 


A  BIOGRAPHICAL  DICTIONARY  OF 


several  portraits  by  him  ;  he  also  engraved  some 
frontispieces  and  other  plates  for  books,  from  his 
own  designs,  among  which  are  the  greater  part  of 
the  plates  in  the  edition  of  '  God's  Revenge  against 
Murder,'  printed  in  1669.  Sherwin  had  the  unusual 
honour  of  being  named  engraver  to  the  king  by 
patent     Among  his  portraits  are  the  following : 

Charles  I.  on  horseback,  with  a  view  of  Eichmond. 

Oliver  Cromwell. 

Charles  II. ;  three  plates,  one  a  whole-length  ;  prefixed 

to  Ashmole's  '  Onler  of  the  Garter.' 
Catherine,  his  Queen. 
Christopher,  Duke  of  Albemarle. 
William  III.  when  Prince  of  Orange. 
Henry,  Duke  of  Norfolk. 
George  I.  when  Elector  of  Hanover. 
Richard  Atkyns,  Typograpli.  Reg. 
Sliugsby  Bethell,  Sheriff  of  London. 
Henry  Scudder,  B.D.,  Presbyt. 
William  Ramesay,  M.D. 
William  Bridge,  A.M.,  Presbyt. 
WiUiam    Sermon,  M.D. ;    inscribed,   fT.    Sherwin,   ad 

vivunij  del.  et  sculp.     1671 
John  Gadbury,  Astrol. 
Judge  Powell.    1711. 

He  also  scraped  a  few  indifferent  mezzotints, 
among  them  the  first  dated  English  plate  in  that 
manner,  a  portrait  of  Charles  II.,  inscribed  Giul. 
Sherwin,  fecitt,  1669. 

SHIELS,  William,  painter,  was  born  in  Ber- 
wickshire in  1785.  He  practised  in  Edinburgh, 
but  occasionally  sent  a  picture  to  the  Royal 
Academy  between  1813  to  1852.  Though  best 
known  as  an  animal  painter,  he  frequently  painted 
genre  pictures  of  a  simple  domestic  character, 
'Interior  of  a  Scotch  Fisherman's  Cottage,'  'Pre- 
paring for  a  ^''isitor,'  &c.     He  died  in  1857. 

SHIERCLIFFE,  Edward,  miniature  pa?nter, 
practised  at  Bristol  in  the  second  half  of  the  18th 
century.     He  was  still  living  in  1776. 

SHIPLEY,  William,  painter,  born  in  1714,  was 
the  originator  of  the  Society  of  Arts.  He  was  for  a 
time  a  drawing-master  at  Northampton,  and  after- 
wards in  London,  where  he  became  widely  known 
as  founder  of  tlie  St.  Martin's  Lane  Academy,  once 
called  'Shipley's  School.'  There  is  a  mezzotint  by 
Faber  of  a  man  blowing  a  lighted  torch,  which 
bears  the  name  of  Shipley  as  the  painter,  hut  whether 
by  this  arti.st  or  not  is  uncertain.  He  died  at 
Manchester,  December  1803.  He  was  the  brother 
of  Dr.  Jonathan  Shipley,  Bishop  of  St.  Asaph's, 
whose  daughter,  Georgina  Shiplet,  was  an  ama- 
teur portrait  painter,  and  exhibited  at  the  Academy 
in  1781.  She  married  Francis  Hare  Naylor,  of 
Hurstmonceaux,  and  died  in  1806. 

SHIPSTER,  Robert,  engraver,  was  a  pupil  of 
Bartolozzi,  and  practised  at  the  close  of  the  18th 
century.  He  engraved  West's  'Witch  of  Endor' 
in  line  for  Maoklin's  Bible. 

SHORT,  R.,  painter  and  draughtsman.  He 
practised  about  the  middle  of  the  18th  century. 
Twelve  pictures  by  him  of  naval  engagements 
between  the  French  and  the  Spaniards,  were  en- 
graved by  Caroline  Watson,  and  published  bj' 
Boydell. 

SHURANLEW,  FiRs  Szerqbjewitsch,  Russian 
painter ;  born  at  Saratof  in  1836,  where  in  1855  he 
became  a  pupil  of  the  Art  Academy.  His  most 
famous  picture,  '  Before  Marriage,'  gained  for  him 
the  post  of  Professor  at  this  Academy.  He  died 
in  November  1901. 

SHUTE,  John,  painter  and  architect,  was  born 
at  Collumpton,  in  Devon.     In  1563  he  published  a 

76 


work, '  The  first  and  chief  grounds  of  Architecture,' 
embellished  with  numerous  cuts  and  figures,  and 
dedicated  to  the  Queen.  From  this  dedication  we 
learn  that  the  autlior  had  been  for  a  time  in  the 
service  of  the  Duke  of  Northumberland,  who  had 
sent  him  into  It.aly  in  1550,  to  study  under  the 
best  architects.  He  is  mentioned  by  Richard  Hey- 
dock,  in  his  translation  of  '  Lomazzo  on  Painting,' 
published  1598,  as  one  of  the  English  limners 
prior  to  Hilliard,  who  practised  "drawing  by  the 
life  in  small  models."     He  died  in  1563. 

SHUTER,  Thomas,  portrait  painter,  practised  in 
the  early  part  of  the  18th  century.  At  Westwood 
Park,  Droitwich,  there  is  a  portrait  by  hira,  signed 
and  dated  1725. 

SIBELIUS,  M.,  a  Dutcli  engraver,  born  at 
Amsterdam,  who  practised  in  London  from  about 
the  year  1775  to  his  death  in  1785.  He  was 
much  employed  by  Sir  Joseph  Banks  in  botanical 
work.  He  also  engraved  a  few  portraits,  among 
which  are : 

Cardinal  Beaton ;  engraved  for  Pennant's  '  Scotland.' 

Mrs.  Rudd  ;  nftei-  Daniel  Dodd. 

SIBERECHTS,  Jan,  painter,  born  at  Antwerp 
in  1627,  was  the  son  of  Jan  Siberechts,  a  sculptor. 
He  was  a  pupil  of  Adriaen  De  Bye,  and  became 
master  of  the  Guild  of  St.  Luke  in  1648.  The  Duke 
of  Buckingham,  passing  through  Flanders  after  his 
mission  to  Paris,  met  Siberechts,  carried  him  to 
England,  and  employed  Iiim  at  Cliefden,  He 
painted  landscapes  in  the  style  of  Berchera  and 
Dujardin,  and  subject  pictures,  such  as  '  St.  Francis 
of  Assisi,'  and  '  Mother  watching  by  Sleeping  Chil- 
dren.' He  also  painted  views  of  Chatsworth,  Long- 
leat,  &e.  He  died  in  London  in  1703.  There  is  a 
'  Farmyard  '  by  him  in  tlie  Brussels  Museum. 

SIBMACHER,  Johann,  heraldic  draught.sman 
and  etcher,  worked  at  Nuremberg  during  the  latter 
part  of  the  16th,  and  the  beginning  of  the  17th 
century.  His  principal  productions  were  etched 
coats-of-arms  and  designs  of  lace.  His  '  New 
Wappenbuch,'  containing  over  three  tliousand 
plates,  was  publi-shed  in  1605,  and  was  followed 
by  a  second  part  in  1609,  and  a  complete  new 
edition  in  1612.  His  great  lace  book,  the  'Newes 
Modelbuch,'  was  published  in  1604,  and  has  been 
constantly  reissued  since  in  various  editions.  Be- 
sides this  he  etched  sets  of  the  months,  hunting- 
scenes,  soldiers,  designs  for  goldsmiths,  fruits, 
topographical  views,  portraits,  &c.  He  also  sup- 
plied illustrations  for  the  Portraits  of  the  first 
twelve  Roman  Emperors,  the  Coins  of  the  Roman 
Emperors,  and  other  works  by  Hulsius.  Several 
hundreds  of  his  plates  are  enumerated  in  Andresen's 
'  Deutsche  Peintre-Graveur.'  Sibmacher  died  at 
Nuremberg  in  1611.  M.  H. 

SIBSON,  Thomas,  an  English  subject  painter 
and  etcher,  was  born  in  March  1817  in  Cumber- 
land, where  his  father  was  a  farmer.  Wliile  still  a 
child  he  went  with  his  family  to  Edinburgh,  and 
was  destined  to  a  mercantile  career  in  the  office  of 
his  uncle.  An  irresistible  love  of  art,  in  which  he 
was  entirely  self-taught,  took  him  in  1838  to 
London,  where  he  was  engaged  in  book  illustra- 
tion. His  first  venture,  a  work  in  etching  entitled 
'  Scenes  of  Life,'  proved  a  failure,  and  was 
abandoned.  His  following  works  were  more 
successful,  among  them  being  illustrations  to  '  A 
Pinch  of  Snuff,'  S.  C.  Hall's  'Book  of  Ballads,' 
the  Abbotsford  edition  of  the  Waverley  Novels,  ten 
etchings  with  letterpress,  1838,  entitled  '  Sketches 
of   Expeditions,  from    the    Pickwick  Club,'   and 


PAINTERS  AND  ENGRAVERS. 


'Illustrations  of  "Master  Humphrey's  Clock,'" 
seventy-two  etchings  issued  independently  during 
the  publication  of  Dickens'  work,  1840-1.  In  Sep- 
tember 1842  he  went  to  Munich,  where  he  worked 
in  the  studio  of  Kaulbach.  Sibson  had  an  hereditary 
tendency  to  consumption,  and  his  ill-health  was 
aggravated  by  the  intense  cold  of  a  winter  at 
Munich,  necessitating  his  return  to  England.  For 
the  sake  of  his  health  he  then  started  on  a  voyage 
to  the  Mediterranean,  and  died  at  Malta  on 
November  28,  1844.  vr  K 

SICARD,  Louis  Apollinaire,  a  French  painter 
of  flowers,  fruit,  and  still-life,  bom  at  Lyons,  April 
25,  1807.  He  lived  at  Lyons,  whence  he  sent 
occasional  pictures  to  the  Salon  from  1857  onwards. 
He  died  in  1881. 

SICARD,  Louis,  (Sicardy,)  miniature  and  enamel 
painter,  born  at  Avignon  in  1746,  worked  in  Paris 
and  exhibited  miniatures,  oil  portraits,  and  'Pier- 
rot' scenes  at  the  Salon  between  1791  and  1819. 
Many  of  these  latter  were  engraved.  He  died  in 
1825. 

SICHELBEIN,  Johann  Friedrich,  an  obscure 
painter  and  engraver,  was  born  in  1648,  at  Mem- 
mingen,  Bavaria,  where  he  died  in  1719. 

SICHEM,  van.  Much  confusion  exists  as  to  the 
life  and  works  of  the  engravers  of  this  name.  No 
less  than  four  Sichems  have  been  enumerated  as 
engravers  or  draughtsmen  on  wood,  namely,  Chris- 
topher the  elder,  Christopher  the  younger,  Cornelia 
and  Carl.  Nagler  is  of  opinion  that  Cornelis 
and  Christopher  the  younger  are  identical.  Some 
writers  have  turned  their  name  into  Viehem, 
through  the  V  being  the  largest  letter  in  the  mono- 
gram they  used. 

SICHEM,  Christopher  van,  the  elder,  appears 
to  have  been  born,  perhaps  at  Delft,  about  the 
middle  of  the  16th  century,  and  seems  to  have 
practised  at  Basle,  Strasburg,  and  Augsburg.  A 
book  illustrated  with  his  cuts,  '  Die  13  Orte  der 
loblichen  Eidgenossenschaft,' was  published  at  Basle 
in  1673.  The  180  cuts  in  Miiller  von  Marpurek's 
'  Contrafacturen  weitberiihmter  Kriegshelden,' 
Basle,  1577,  are  signed  with  Sichem's  monogram. 
The  Strasburg  Livy  of  1690  ;  a  '  Beschreibung  der 
Kunst  des  Fecbtens,'  published  at  Augsburg  by 
Joachim  Meyer  in  1600,  and  a  Josephus,  Stras- 
burg, 1601,  were  also  illustrated  by  this  Sichem. 
This  Sichem  may  be  the  author  of  the  following 
portraits,  on  copper  : 

The  Emperor  Charles  V. ;  inscribed  Carolus  Quinius 
Imperator,  i^-c.  C'h.  v.  Sichem,  scu/p.  et  exc. 

Queen  Elizabeth  ;  inscribed  EUsaheta  D.  G.  Anglice,  ^c. 
Ch.  V.  Stchem,  fecit. 

Eobert  Dudley,  Earl  of  Leicester;  C.  van  Sichem,  sc. 
et  exc. 

Francois  Valesius,  Duke  of  Alenqon ;  the  same  inscrip- 
tion. 

A  set  of  twelve  Historical  subjects ;  Christ,  van  Sichem, 
fecit.    (WooJcuts.) 

SICHEM,  Christopher  van,  the  younger,  and 
Carl.  What  relation  these  were  to  the  other 
Sichems  it  is  impossible  to  say,  but  they  appear  to 
have  been  contemporary  with  Cornelis,  and  all  three 
may  well  have  been  the  sons  of  the  elder  Chris- 
topher. There  is  but  little  distinction  between 
their  works  or  the  monograms  they  used.  The 
following  prints  are  attributable  to  Carl,  who  seems 
to  have  made  up  his  monogram  of  the  initials 
K.  r.  S. : 

A  numerous  set  of  Portraits  of  the  principal  Beformers 
of  the  Church,  published  at  Amheim  in  1609 ;  en- 
titled '  Iconica  Hseresiarcharum,' 


A  set  of  whole-length  Portraits  of  the  Counts  of  Holland 
and  Zealand. 

SICHEM,  Cornelis  van,  was  probably  bom  at 
Delft  about  1580.  He  was  at  work  in  Amster- 
dam in  the  early  years  of  the  17th  century,  and 
is  supposed  to  have  been  a  disciple  of  Hendrik 
Goltzius,  several  of  whose  designs  he  engraved  on 
wood.  He  also  worked  after  Matham  and  Bloe- 
mart.  His  prints  are  pretty  numerous.  Like  those 
of  two  other  Sichems,  they  are  signed  with  the 

monogram  annexed   (^^ ,     There   can    be    little 

doubt  as  to  his  authorship  of  the  following  prints : 

Esther  before  Ahasuerus  ;  after  L.  de  Leyden. 

The  Adoration  of  tl;e  Shepherds ;  after  Ab.  Bloemaert. 

The  Circumcision  ;  after  M.  Goltzius. 

Judith  with  the  Head  of  Holofernes ;  after  the  same. 

St.  Cecilia ;  after  the  same. 

A  set  of  four  plates,  Judith,  David,  Samson,  and  Sisera ; 

after  the  same. 
The  Four  Evangelists. 

SICKLING,  Lazarus  Gottlieb,  engraver,  born 
at  Nuremberg  in  1812,  was  a  pupil  of  Karl  Mayer 
and  Albrecht  Reindel,  but  in  1832  entered  the 
atelier  of  Frommel,  at  Carlsruhe.  In  1834  he 
went  to  Munich,  Paris,  and  London.  For  nearly 
two  years  he  worked  at  the  "  Gallery  of  Versailles." 
In  1839  he  returned  to  Nuremberg,  and  afterwards 
went  to  Leipsic.  His  excellent  engraving  after 
GrafTs  portrait  of  Lessing,  led  to  the  publication 
of  a  series  of  German  portraits.  He  died  at  Leipsic 
in  1863. 

SICILIANI,  Giovanni  Bernardino  (Roderigo). 
See  Rodriguez. 

SICIOLANTE,  GiROLAMO  da,  painter,  was  born  at 
Sermoneta  in  1504,  and  is  generally  called  Giro- 
lamo  da  Sermoneta.  He  was  at  first  a  pupil  of 
Leonarda  da  Pistoja,  and  then  of  Perino  del  Vaga, 
whom  he  assisted  in  his  works  in  the  Castle  of  S. 
Angelo.  He  was  employed  by  Gregory  XIII.  in 
the  decorations  of  the  Sala  Regia  in  the  Vatican, 
where  he  painted  in  fresco  Pepin,  king  of  France, 
giving  Ravenna  to  the  Church,  after  making 
Astolfo,  king  of  the  Longobardi,  prisoner.  Other 
frescoes  are  in  San  Luigi  dei  Franceschi.  He  was 
one  of  the  best  artists  of  the  Roman  Decadence. 
He  died  in  1550.     Works  : 

Aucona.    S.  Bartolommeo.    Virgin   Enthroned,  with   St. 
Bartholomew     and     other 
Saints. 
Berlm.  Count  SaczynsWs  1  ^  p;g^^_ 

uattery.     j 
'RoTtiQ.  S.Maria Maggiore.    Martyrdom  of  St.  Catherine. 
„  Ara  Cceli.     The  Transfiguration. 

S.  M.  delta  face.     The  Nativity. 

S.  Jacovo  dtgli  \  ^^^  Orucifizion. 
Spaynltoll.      ) 
„  S.  Ltdgi.    Baptism  of  Clovis. 

SICKINGER,  Gr^goire,  a  Swiss  painter,  prac- 
tising at  the  close  of  the  16th  century.  The  de- 
tails of  his  life  are  unknown,  save  that  he  appears 
to  have  married  one  Elizabeth  Theitrich,  at  Soleure, 
in  1595.  Recent  discoveries  have  estabhshed  that 
he  is  the  same  with  the  unknown  artist  mentioned 
by  Nagler  and  Fiissli  as  having  used  for  signature 
of  his  works  the  following  monogram  :  G.  -(-.  S. 
At  the  confraternity  of  St.  Luke  at  Soleure  there 
are  some  pen-and-ink  drawings  by  him,  and  in  the 
Albertina  at  Vienna  some  engravings  on  wood. 
It  is  probable  that  he  made  designs  for  the  glass- 
workers  of  his  period. 

SICULO,  Jacopo,  son-in-law  of  Lo  Spagna,  lived 
in  the  early  part  of  the  16th  century.     He  is  said 

77 


A  BIOGRAPHICAL  DICTIONARY  OF 


to  have  received  a  commission  for  the  decoration 
of  the  Cappella  Eruli,  now  the  Baptistery,  of  the 
cathedral  at  Spoleto.  His  earliest  authenticated 
production  is  a  large  domed  panel  in  the  parish 
church  of  S.  Mamigliano.  It  is  dated  1538,  and 
shows  the  influence  of  Raphael.  Frescoes  by  Siculo 
exist  in  the  Palazzo  and  in  the  church  of  S.  Niccol6 
at  Spoleto. 

SIDLEY,  Samuel,  a  portrait  painter,  who  was 
born  in  1829,  and  educated  at  Manchester.    He  was 
a  scholar  at  the  Royal  Academy  Schools,  and  com- 
menced to  exhibit  in  1855.     Two  of  his  portraits 
are  in  the  National  Portrait  Gallery,  one  of  Bishop 
Colenso  being  perhaps  his  best  work.     He  was  the 
only   person   who  successfully   painted   Professor 
Fawcett.     He  was  a  shy  and  somewhat  retiring 
man,  and  never  became  very  popular,  although  for 
presentation  purposes  his  pictures  were  for  a  while 
the  vogue.     He  had  to  do  with  the  founding  of 
the   Royal   Cambrian   Academy,   illustrated    half- 
a-dozen  books,  himself  engraved  one  of  his  pic- 
tures, but  never  completed  the  plate.     He  died  in 
1896. 
SIEBENBURGEN,  Jacob.    See  Corona. 
SIEBERT,   Adolph,  a  deaf  and  dumb  painter, 
born  at  Halberstadt  in  1806,  entered  in  1822  Wach's 
atelier  at  Berlin,  and  in  1830  with  his  'Jupiter  and 
Mercurius  at  the  House  of  Philemon  and  Baucis,' 
gained  the  Academy  prize  and  the  Italian  Stipen- 
dium.     He  died  young  at  Rome  in  1832. 

SIEGEN,  LuDwiG  VON,  (or  Siegen  von  Sechten,) 
an  officer  in  the  service  of  the  Landgrave  of  Hesse- 
Cassel,  who  is  now  credited  \vith  the  invention  of 
mezzotint,  which  invention  he  communicated  to 
Prince  Rupert,  by  whom  it  was  brought  to  England. 
He  was  born  in  Holland  in  1609,  his  mother  being  of 
that  country,  but  his  father  of  an  ancient  and  noble 
German  family.  He  went  to  Germany  in  1620  to 
receive  his  first  education  ;  returned  to  Holland  in 
1626,  and  remained  there  till  1637,  when  he  entered 
the  service  of  the  Landgrave  of  Hesse.  Whether 
his  services  were  civil  or  military  is  not  quite  clear, 
but  he  had  the  title  of  lieutenant-colonel.  In  1641 
he  again  returned  to  Holland,  and  employed  that 
and  part  of  the  following  year  in  the  execution  of 
his  first  engraving,  which  he  produced  at  Amster- 
dam in  August,  1642.  Siegen  died  in  the  military 
service  of  the  Duke  of  WolfenbUttel  about  the 
year  1680.  The  following  are  his  best  known  plates : 

1.  Bust  portrait  of  Amelia  Elisabeth,  Landgravine  of 
Hesse,  with  a  dedication,  dated  1642,  signed  L  4  S. 
H.  17  in.,  W.  12J.  The  second  state  of  the  plate  has 
the  date  1643. 

2.  Eleouora  Gonzaga,  wife  of  the  Emperor  Ferdinand 
III.,  called  by  others  the  Queen  of  Bohemia.  On  the 
lower  left-hand  corner,  G.  Hondthorst  pinxit  anno,  and 
on  the  opposite  corner,  L.  &  Siegen  inventor  fecit,  1643. 

3.  Portrait  of  the  Prince  of  Orange,  inscribed  Guilhel- 
mus  D.  G.  Princeps  auriacus  comes  Nassavise,  etc., 
MDCXiiiii.,  in  one  row  of  capital  letters  at  the  bottom. 
Signed  near  the  top,  G.  Honthorst  pinxit.  L.  h  Siegen 
inventor  fecit,  1644. 

4.  Portrait  of  the  Princess  of  Orange,  inscribed  Augusta 
Maria  Caroli  M.  B.  Reg.  filia  Guilhelmi  Princ.  Aur. 
Sponsa.  In  the  lower  left  coinei,  Hondthorst  pinxit. 
L.  ^  Sieyen  inv.  et  fecit. 

6.  The  Emperor  Ferdmand  III.,  in  an  oval,  on  the  upper 
part  of  which  is  inscribed,  Eom.  Imperator  semper 
Aug.  et  Boh.  Eex.  and  on  the  lower  part,  Lud.  Siegen 
in  Sechten  ex  ...  .  pinxit  novoq.  a  se  invento  modo 
sculpsit  Anno  Domini  1654.  On  the  left  at  bottom 
L  V  S  in  a  monogram,  and  opposite  the  date  1654. 

6.  St.  Brnno,  a  whole-length  figure  kneeling,  turned 
towards  the  right,  an  open  book  before  him.  At  the 
bottom  are  six  verses ;  on  the  left  of  the  verses  D'nis 
78 


suis  Patronis,  &c. ;  on  the  right.  In  honorem  S"  Brun- 
nonis,  &c.  L  d  Sjn  S.  An.  1654. 
7.  The  Holy  Family,  after  Annibnle  Carracci.  Dedi- 
cated to  Prince  Leopold  of  Austria.  At  the  bottom, 
Ludw.  a  Siegen  humilissime  oftert — Annib.  Caratii 
pinx.  Lower  down,  Lodovicq  a  S.  novo  suo  modo  lusit. 
In  the  second  state  of  the  plate  it  is  dedicated  to 
Cardinal  Mazarin,  and  has  the  date  1657. 

The  finest  existing  collection  of  the  works  of 
Siegen  and  other  early  mezzotinters  is  in  the 
British  Museum. 

SIEGERT,  AnansT,  a  painter  of  historical 
scenes,  bom  at  Neuvied  in  1820.  He  studied  at 
Diisseldorf,  and  many  of  his  best  works  are  to 
be  seen  at  Hamburg.  Almost  all  his  pictures 
represent  scenes  from  German  history.  He  died 
in  1883. 

SIEMIRADZKI,  Hendrik,  Polish  painter  ;  born 
September  15,  1843,  at  Charkof ;  studied  at  the 
Petersburg  Academy,  and  also  at  Munich  under 
Piloty,  going  afterwards  to  Rome,  where  he 
permanently  settled.  Some  of  his  fresco  work  is 
to  be  seen  in  the  Church  of  Our  Saviour  at  Moscow. 
His  '  Torches  Vivantes  de  N^ron,'  shown  at  the 
Paris  Exhibition  of  1878,  achieved  a  great  success, 
and,  despite  an  ofier  of  120,000  francs  for  the 
picture,  the  artist  preferred  to  present  it  to  the 
Crakow  National  Museum.  Other  works  of  his 
are  '  UneCaverne  de  Pirates,'  '  Danse  des  Glaives,' 
'  Vendeur  d'Amulettes,'  &c.  He  was  a  member 
of  the  St.  Petersburg  Academy,  also  of  the  Berlin 
and  Stockholm  Academies  ;  he  obtained  a  medal 
at  the  Paris  Exhibition  in  1878,  also  the  Legion 
d'Honneur,  being  made  correspondent  of  the 
Academic  des  Beaux  Arts  in  January  1889.  He 
died  at  Rome,  September  1902. 

SIENA,  Berna  da  (or  Barna).    See  Baena. 

SIENA,  GoiDo  DA,  one  of  the  earliest  of  the 
Sienese  painters.  The  name,  Guida  de  Senis,  appears 
upon  a  '  Virgin  Enthroned '  over  an  altar  in  the 
church  of  San  Domenico  at  Siena,  It  is  inscribed 
with  the  year  1221,  and  upon  this  the  Sienese  have 
long  based  their  claim  to  priority  over  the  Floren- 
tines in  tlie  revival  of  art.  Now,  however,  it  is 
believed  that  the  date  in  question  should  read  1281. 
In  style  this  Madonna  is  thoroughly  Byzantine, 
although  in  arrangement  it  bears  a  very  strong 
resemblance  to  the  great  Cimabue  in  Santa  Maria 
Novella  at  Florence.  A  colossal  Virgin  (16)  in  the 
Siena  Gallery  is  probably  by  Guido,  and  is  typical 
of  the  work  lie  represents. 

SIENA,  Lorenzo  da.    See  Lorenzo  di  Pieteo. 

SIENA,  Marco  da.     See  Pino. 

SIENA,  Matteo  (or  Matteino  da).  See  Matteo. 

SIENA,  Matteo  di  Giovani  da.  See  Matted  di 
Giovanni. 

SIENA,  MiNUCCio  DA.    See  MiNuccio. 

SIENA,  Sano  da.     See  Sano  di  Pietro. 

SIENA,  Simone  da.    See  Martini. 

SIENA,  Ugolino  da.     See  Ugolino  da  Siena. 

SIERRA,  Francisco  Perez,  is  reckoned  a  Spanish 
pdinter,  though  born  at  Naples  in  1627,  and  in- 
structed in  art  by  Aniello  Falcone,  the  master  of 
Salvator  Rosa.  His  father,  a  native  of  Gibraltar, 
was  an  officer  in  the  Neapolitan  army,  and  married 
a  daughter  of  the  governor  of  Calabria.  While  a 
student.  Sierra  was  appointed  page  to  one  Don 
Diego  de  la  Torre,  whom  he  followed  to  Madrid. 
There  he  entered  the  school  of  Juan  de  Toledo. 
His  patron,  Don  Diego,  employed  him  in  copying 
pictures  by  Spagnoletto ;  and  in  painting  a  series 
of  Sauits  for  a  chapel  he  had  founded  at  Madrid- 


LUDWIG  VON  SIEGEN 


AMELIA  KLIZAl'.KTII,  LANDGRAVINE  OF  HESSE 
1642 


PAINTERS  AND  ENGRAVERS. 


Later  in  life  Sierra  was  appointed  manager  of  the 
Spanish  prisons,  and  gave  up  art,  except  that  he 
painted  flower-pieces  for  his  amusement,  some  of 
which  found  their  way  into  the  Buenretiro.  He 
died  in  1709. 

SIEDRAC,  FBANgois  Joseph  Juste,  miniature 
painter,  bom  in  1781,  at  Cadiz,  of  French  parents. 
He  studied  at  the  Academy  of  Toulouse,  and  under 
Augustin,  and  exhibited  miniatures  at  the  Salon, 
He  died  at  Sorfee,  near  Toulouse,  about  1832. 
Amongst  his  miniatures  were  portraits  of  Lord 
Byron,  Sir  Walter  Scott,  Thomas  Moore,  and  the 
Duchesse  de  Bern. 

SIEUBAC,  Henri,  painter,  was  the  son  and 
pupil  of  Fran9oi8  Joseph,  and  was  born  in  Paris, 
August  15,  1823.  He  studied  for  a  time  under 
Paul  Delaroche,  and  exhibited  at  the  Salon  from 
1848  until  his  death,  which  took  place  in  Paris, 
December  1863.  The  following  are  his  best  known 
works : 

Aix.  Jfusetim.    The  Triumph  of  Fabius. 

ChAloa-sor-Saone.    „  The  Birth  of  Bacchus. 

Dijon.  „  Faith,  Hope,  and  Charity. 

Toulouse.  „  The  Kenascence  (an  allegory). 

SIEVIER,  Robert  William,  engraver,  bom  in 
London  in  1794,  studied  engraving  with  Young 
and  Scriven,  and  afterwards  worked  in  the  Academy 
schools.  He  engraved  the  portraits  of  Lord  Ellen- 
borough,  after  Lawrence ;  Lady  Jane  Grey,  after 
Holbein ;  '  The  Importunate  Author,'  after  New- 
ton, and  several  plates  after  Etty.  His  study 
in  anatomy  and  modelling  led  him'about  1823  to 
desert  engraving  for  sculpture,  in  which  latter  art 
he  achieved  both  distinction  and  popularity.  Much 
of  his  energy  was  devoted  to  science,  and  in  1840 
he  was  elected  a  Fellow  of  the  Royal  Society.  He 
died  in  London  in  1865. 

SIGALON,  Xavier,  painter,  born  at  Uzes  in 
1788,  learned  his  art  from  one  Monrose,  a  pupil  of 
David,  and  in  the  Nismes  school  of  design.  He 
acquired  the  means  to  go  to  Paris  by  painting 
Baints  for  the  churches  of  Nismes.  He  arrived  in 
the  capital  in  1817,  and  studied  under  Guerin  and 
Souchot.  His  first  pictures  were  '  The  Young 
Courtezan,'  now  in  the  Louvre, '  Locusta,' '  Athaliah,' 
and  'The  Vision  of  St.  Jerome.'  A  'Baptism  of 
Christ'  met  with  such  a  fire  of  criticism  that  he 
retired  to  Nismes,  where  he  devoted  liimself  to 
portrait  painting  and  giving  drawing  lessons.  On 
Thiers  becoming  minister,  Sigalon  was  commis- 
sioned to  copy  the  'Last  Judgment'  of  Michel- 
angelo in  the  Sistine  Chapel.  From  1833  to  1837 
he  was  constantly  engaged  on  this  work,  which, 
when  seen,  revived  his  reputation  at  home.  But 
after  a  short  visit  to  Paris,  he  returned  to  Rome, 
where  he  died  of  cholera  the  same  year,  in  1837. 

SIGMARINGEN,The  Master OF,an  anonymous 
painter  of  the  School  of  Ulm,  who  was  still 
working  in  the  sixteenth  century,  though  he 
followed  closely  in  the  steps  of  earlier  masters, 
especially  Zeitblom.  His  principal  work,  con- 
taining scenes  from  the  life  of  the  Madonna,  is 
in  the  Gallery  at  Sigmaringen,  hence  the  name 
by  which  he  is  known  ;  an  earlier  work,  part 
of  a  large  altar-piece,  is  in  the  Gallery  at  Donaue- 
schingen.  This  painter  was  formerly  confounded 
with  Schiilein. 

SIGMUND IIL,  King  of  the  Poles,  bom  in  1566, 
was  not  only  a  lover  of  the  arts,  but  also  a  good 
artist.  He  painted  an  '  Allegory  of  the  Foundation 
of  a  Jesuit  Monastery,'  which  he  gave  to  his 
daughter  Anna  on  her  marriage  with  the  Count 


Palatine,  Philip  Wilhelm.  The  picture  found  its 
way  to  the  Diisseldorf  Gallery,  and  thence  to 
Schleissheim,  where  it  was  long  called  a  Tintoretto. 
He  also  painted  a  '  Mater  Dolorosa,'  now  in  the 
Augsburg  Gallery.     He  died  in  1632. 

SIGNOL,  Emile,  French  painter  ;  bom  in  Paris, 
May  8,  1804 ;  became  a  pupU  of  Blondel  and  of 
Baron  Gros ;  won  the  Prix  de  Rome  in  1830  with 
his  'Meleager.'  In  1834  he  obtained  a  second- 
class  medal,  and  a  first-class  medal  in  1835. 
Between  1838  and  1839  he  did  a  great  deal  of 
work  in  the  Galleries  at  Versailles.  His  '  Femme 
Adultfere,'  now  in  the  Luxembourg,  was  the  most 
popular  picture  of  the  Salon  of  1840.  In  that  year 
he  was  employed  in  decorating  the  Madeleine,  and 
this  led  to  other  similar  work  in  Parisian  churches. 
He  was  made  a  member  of  the  Academic  des 
Beaux  Arts  in  1860  ;  a  Chevalier  of  the  Legion  of 
Honour  in  1841,  and  an  Officer  in  1865.  He  died 
in  Paris,  September  1892. 

SIGNORACCIO,  Bernardo  and  Paolo.   See  Del 

SiGNORACCIO. 

SIGNORELLI,  Francesco,  nephew  and  assist- 
ant of  Luca  Signorelli,  a  mediocre  painter,  best 
known  by  his  only  signed  work,  'The  Immaculate 
Conception,'  in  the  Church  of  S.  Francesco,  Gubbio. 
To  him  are  also  attributed  a  '  Madonna  and  Saints ' 
in  the  Palazzo  Pubblico,  Cortona ;  'The  Incredu- 
lity  of  St.  Thomas,'  in  the  Duomo,  Cortona ;  and  a 
Church  Standard,  on  which  is  represented  'The 
Baptism  of  Christ,'  in  the  Gallery,  Citti  di  Castello. 
His  works,  though  without  merit,  have  a  certain 
stylistic  resemblance  to  those  of  his  master.  He 
was  still  living  in  1560.  M.  C, 

SIGNORELLI,  Luca,  painter,  born  at  Cortona 
about  1441,  was  the  son  of  Egidio  Signorelli  and 
a  sister  of  Lazzaro  dei  Taldi,  great-grandfather  of 
Giorgio  Vasari.  He  was  thus  great-uncle  of  his 
biographer.  But  few  facts  of  his  youth  are  known 
with  certainty.  He  was  placed  at  an  early  age  in 
the  atelier  of  Pier  dei  Franceschi,  whom  he  pro- 
bably assisted  in  the  Arezzo  frescoes,  but  the  chief 
influence  on  his  work  was  that  of  Antonio  PoUai- 
uolo,  to  whom  it  is  more  than  probable  he  was 
subsequently  apprenticed.  His  style  of  painting 
is  essentially  Florentine,  and  it  may  with  safety  be 
assumed  that  most  of  bis  youth  was  spent  at 
Florence.  His  earliest  existing  work — '  The  Fla- 
gellation,' in  the  Brera,  Milan — is  entirely  Pollaiuo- 
lesque,  and  his  frescoes  in  the  Sacristy  of  the  Church 
of  the  Santa  Casa,  Loreto — also  a  comparatively 
early  work — .'(how  the  influence  of  Donateilo  and  of 
Verrocchio.  In  1479  he  was  residing  at  Cortona, 
where,  on  Sep.  6,  he  was  elected  to  the  Council  of 
Eighteen,  and  shortly  afterwards  to  the  Conserva- 
tori  degli  Ordinamenti  del  Commune.  The  follow- 
ing year  he  was  made  one  of  tiie  Priori  and  elected 
to  the  Consiglio  Grande.  These  honourable  oSices, 
besides  others,  he  continued  to  hold  till  the  year  of 
his  death,  evidence  of  the  high  consideration  in 
which  he  was  held  in  his  native  city.  His  first 
dated  picture  is  the  'Madonna  and  Saints'  in  the 
Chapel  of  S.  Onofrio  in  the  Duomo,  Perugia,  exe- 
cuted in  1484.  In  1488  he  was  elected  a  citizen 
of  Citti  di  Castello  in  appreciation  of  a  Church 
Standard  painted  by  him  for  that  town,  a  work 
which  no  longer  exists.  In  1491  he  was  among 
those  invited  by  the  Operai  of  the  Duomo,  Flo- 
rence, to  judge  the  designs  presented  for  thff 
fajade  of  the  Cathedral,  but  for  unknown  reasons 
he  did  not  assist.  In  1497  he  was  commissioned 
by  the  monks  of  Monte  Oliveto,  near  Siena,  to 

79 


A  BIOGRAPHICAL  DICTIONARY  OF 


paint  in  their  cloister  scenes  from  the  life  of  St. 
Benedict.  He  executed  only  eight  of  the  frescoes, 
which  were  finished  by  Sodoma.  His  most  import- 
ant work  is  the  decoration  of  the  Cappella  della 
Madonna  di  S.  Brizio,  in  the  Cathedral  of  Orvieto, 
to  which  he  devoted  at  least  five  years.  He  received 
the  commission  for  the  vaulting,  already  begun 
by  Fra  Angelico,  in  April  1499,  and  that  for  the 
walls  a  year  later.  These  grand  frescoes,  which 
represent  Dantesque  conceptions  of  the  '  Last 
Judgment,'  with  subordinate  decorations  in  gri- 
saille, became  like  the  frescoes  of  Masaccio  in  the 
Carmine,  a  school  from  which  later  artists  drew 
their  inspiration.  Michelangelo,  among  others, 
was  strongly  influenced  by  them.  Signorelli  was 
assisted  in  the  work  by  his  son  Polidoro  and  by 
Girolamo  Genga,  but  their  participation  was  con- 
fined to  subordinate  parts,  and  the  entire  series 
of  frescoes  bear  evidence  of  the  master's  own 
vigorous  hand.  While  at  Orvieto  ho  painted  for 
the  treasurer  of  the  works,  with  a  few  bold  strokes 
upon  a  tile,  liis  own  portrait,  still  preserved  in  the 
Opera  del  Duomo,  which  shows  a  powerful,  impe- 
rious and  strenuous  face,  with  brow  and  jaw 
strongly  developed.  Occupied  as  he  was  with  the 
Cathedral  frescoes,  he  found  time  to  continue  his 
municipal  duties,  and  was  re-elected  to  his  offices 
at  Cortona.  In  1508  he  was  sent  as  ambassador 
to  Florence  to  demand  permission  to  efi'ect  certain 
communal  reforms,  and  the  same  year  he  went  to 
Rome  to  paint  for  Julius  II.  in  the  Vatican,  toge- 
ther with  Perugino,  Pinturicchio,  and  Sodoma. 
One  wall  at  least  was  finished  by  him,  but  no  trace 
of  his  work  remains,  since,  with  the  exception  of  a 
ceiling  by  Perugino,  the  entire  labour  of  the'older 
painters  was  ruthlessly  destroyed  to  make  way  for 
the  paintings  of  Raphael  and  his  scholars.  In 
1612  he  was  again  sent  by  his  fellow-citizens  as 
ambassador  to  Florence  to  congratulate  the  Medici 
on  their  return,  and  the  following  year  he  went  to 
Rome  to  seek  the  patronage  of  the  new  Pope, 
Giovanni  dei  Medici,  but  without  success.  The 
day  of  the  Quattrocentists  was  over,  and,  as  far  as 
Rome  was  concerned,  Signorelli  had  outlived  his 
time.  He  lived  to  the  age  of  82,  retaining  his 
health  and  energy  up  to  the  last,  and  some  of  his 
finest  work  was  painted  when  he  was  between 
60  and  70.  His  last  work — the  altar-piece  in  the 
Collegiata,  Foiano,  painted  in  his  last  year,  still 
shows  great  energy  and  force.  He  died  in  1523,  and 
was  buried  in  the  Church  of  S.  Francesco,  Cortona. 
The  work  of  Signorelli  is  characterized  by  nobility 
of  conception,  and  breadth  and  vigour  in  execu- 
tion. The  Titanic  grandeur  of  his  figures  antici- 
pates that  of  Michelangelo's  ;  they  have  the  same 
solemnity,  without  however  his  tragic  melancholy : 
Signorelli's  views  of  life  were  more  optimistic. 
He  belonged  to  the  Naturalistic  School,  and  used 
his  themes  to  display  the  human  form  and  its  con- 
struction. He  was  complete  master  of  anatomy, 
and  specially  skilful  in  the  rendering  of  compli- 
cated movement  and  crowded  action,  in  which  he 
has  never  been  surpassed.  At  the  same  time  his 
figures  have  often  a  grace  and  beauty  rare  among 
the  realistic  painters  of  his  day.  No  more  poetic 
works  exist  than  his  'Pan'  in  the  Berlin  Gallery, 
and  his  '  Madonna '  of  the  Rospigliosi  Collection, 
Rome.  But  his  poetry  was  an  accident,  his  aims 
wore  purely  scientific.  His  rapidity  of  brush- 
workand  breadth  of  treatment  were  in  advance  of 
his  time,  and  give  his  works  an  almost  modem 
appearance.  No  painter  has  given  to  the  human 
80 


Altenburg.  3fu3eum. 

Arcevia.  S.  Medardo. 


Arezzo.  Gallery. 

„      Durnno  {Sacristy). 


frame  a  like  degree  of  nobility,  of  vehemence  and 
strength,  nor  treated  his  themes  with  more  stately 
dignity. 

Nine  panels  from  Polyptych. 
Polyptych      with     Predella. 

1507. 
Baptism  with  Predella.  1508. 
Madouna,    Saints,  and    Pro- 

phets.     1519. 
Three  Predella  Panels  :  Birth 
of  Virgin  ;     Presentation ; 
Marriage  of  Virgin. 
Bergamo.      Morelli  Coll.     St.  Rock. 
„  „  St.  Sebastian. 

Madouna, 
Two  wings  of  Altar-piece  with 

Saints.     1498. 
Pan   as  God  of  Nature  and 

Master  of  Music. 
Visitation. 
Portrait  of  Man. 
)  Church  Standard,  with  Cruci- 
j      fixion,  and  SS.  Antonio  and 
Eligio. 


BerUn. 


K.  Museum. 


Borgo  S.  Sepolcro.  Muni- 
cipio. 


Castiglione       Collegiata. 

Fioreutmo.  ^ 

Citta  di  Oastello.  Gallery. 


Cortona. 


1) 

S.  Domenico. 

Gesii. 
S.  NiccoU. 

Dubiin. 

Gallery. 

Florence. 

Accademia. 

"  Pitti. 
Vffizi. 

M 

» 

W 

»» 

Foiano. 

Corsini  Coll. 
Collegiata. 

Liverpool.      Eopal  Insti- 
tute. 
London.  NationalGallery. 

»» 

j» 

»i 

'» 

tt 

Coll.  of  Mr. 
L'cnson. 

ti 

>» 

tj 

Coll.  of  Lord 
Crawford. 

„      Coll 

of  Dr,Mond. 

„       Coll 
Loreto.     S. 

of  Mr.  Muir 

Mackenzie. 

Maria   della 

Santa  Casa 

Meiningen.  Ducal  Palace. 
Milan.  Brera. 


Monte  Oliveto    Cloisters. 
Maggiore. 


Deposition  (fresco). 

Martj-rdom  of  St.  Sebastian. 
1496. 

Ihiomo.    Deposition    with     Predella. 
1502. 
,,        Institution      of      Eucharist, 

1512. 
„         Immaculate  Conception. 

Madonna  and  Saints.    1515 

Madonna  and  Saints. 

Dead  Clirist  upheld  by 
Angels;  on  reverse.Madonna 
enthroned  with  Saints. 

Madonna  and  Saints  (fresco). 

Predella  :  Feast  in  the  House 
of  Simon. 

Madonna  and  Saints  with 
Predella. 

Crucifixion  (in  part). 

Holy  Family. 

Macloana  and  Child. 

Holy  Family. 

Predella  Panel :  Annuncia- 
tion ;  Nativdty  ;  Adoration. 

Madouna  and  Child. 

Coronation  of  Virgin,  1523, 
with  Predella  (two  panels 
only  by  Signorelli). 

>  Madonna. 

Circumcision  (Child  by 
Sodoma). 

Madonna  and  Saints.     1515. 

Predella  Panel :  Annuncia- 
tion. 

i  Madonna. 

Predella  Panels  :  Dispute  on 
the     AVay     to     Emmaus ; 
Christ  at  Emmaus. 
)  Predella  Panels  t  Meeting  of 
J      Joachim  and  Anna  ;  Birth 
of  Virgin. 
Predella   Panels :    Ahasuerus 
and  Esther  ;  Two  Scenes  in 
Life  of  St.  Augustine. 

I  Madonna. 

)  Frescoes  in  Sagrestia  della 
j"     Cura. 

Medallions  of  Prophets  in 
Nave. 

Predella  Panel. 

Madouna  and  Saints.     1503 

Flagellation. 

Madonna  and  Child. 

Eight  frescoes  from  Life  of 
St.  Benedict.    1497. 


LUCA  SIGNORELLI 


SAINTS 


[Berlin  Gallery 


LUCA  SIGNORELLI 


[Cathedral  Orvicto 
PORTRAITS  OF  SIGNORELLI  AND  FRA  ANGELICO 


I 


PAINTERS  AND   ENGRAVERS. 


Morra  (near     5.  Crescen-     Crucifixion    and  Flagellation 

CittAdiCastello).  ziano.         (frescoes). 
Munich.  Pinakothek.     Madouna  and  Child. 

New  Haven,  Jarves  Coll.  \  Predella  Panel :  Adoration  of 

U.S.A.  j      Magi. 

Orvieto.  Duomo.     Frescoes  in    Chapel  of    Ma- 

donna di  S.  Brizio.     1499- 
1504. 
„       Opera  del  I>umno.     St.  Maria  Maddalena.     1504. 
„  „  Portraits    of   SignoreUi    and 

Niccolo      Franceschi       {oji 
tile).     1503. 
Paris.  Lmvre.    Predella     Panel :     Birth     of 

Virgin. 
„  „        Seven   figures     (fragment   of 

larger  painiincj). 
Perugia.  Ihcomo.     Chapel  of    S.   Onofrio:    Ma- 

donna and  Sainis.     1484. 
Richmond.      Coll.  of  Sir  )  Two  fragments  of  Baptism. 

Frederick'Cook.]  Profile  Portrait  of  Man. 
Rome.  Eospigliosi  Gallery.    Holy  Family. 
Stirlingshu-e    Coll.  ofSir'i 

(Scotland).   John  Stirl- S-'Pieti,. 
ing-Maxwell.  J 
Umbertide.    Santa  Croce.     Deposition     with     Predella. 

1516. 
Urbino.        Santo  Spirito.     Church        Standard        (now 
divided) :    Crucifixion    and 
Pentecost.    1494. 
Volterra.  Duomo  Sacristy.    Annunciation.     1491. 

„  Municipio.     Madonna  and  Saints.     1491. 

,,  (On  stairs).     S.  Girolamo  (/resco).        M.  C. 

SIGRILLl,  B.,  an  Italian  engraver,  who  flour- 
iBhed  about  the  year  1760.  He  engraved  some  of 
the  plates  in  the  "  Gerini  Gallery." 

SILLET,  James,  flower  painter,  bom  at  Norwich 
in  1764,  studied  in  the  schools  of  the  Royal 
Academy.  About  1804  he  went  to  King's  Lynn, 
but  in  1810  returned  to  Norwich,  where  he  died 
in  1840.  He  chiefly  excelled  in  miniature,  but  he 
also  painted  still-life  and  theatrical  scenery,  and 
illustrated  Richard's  '  History  of  Lynn.' 

SILLIG,  Georo  Victor,  painter  and  etcher,  was 
born  in  1806,  at  Dresden,  where  he  practised  for 
many  years,  painting  and  etching  military  scenes. 

SILO,  Adam,  a  marine  painter,  draughtsman, 
and  decorator,  was  bom  at  Amsterdam  in  1670. 
He  was  skilled  in  mechanics,  and  Peter  the  Great 
engaged  him  to  teach  five  young  Russians  ship- 
building. He  painted  marine  pieces  for  the  Czar, 
in  which  the  drawing  of  the  vessels  was  good. 
Nine  etchings  of  skiffs,  fishing-boats,  and  other 
vessels,  signed  A.  Silo  inv.  et  feet.,  are  extant. 
It  is  said  that  Silo  lived  to  the  age  of  90. 

SILVA  BAZAN  Y  SARMIENTO,  Dona  Mariana 
DE,  Duchess  of  Huescar  and  Arcos,  born  December 
14,  1750,  at  Madrid,  was  a  clever  amateur  painter 
and  modeller,  and  was  also  known  as  a  writer  of 
lyric  and  dramatic  poetry.  In  1766  she  was  made 
honorary  member  of  the  Academy  of  San  Fernando, 
and  later  was  appointed  honorary  director.  She 
was  three  times  married,  lastly  to  the  Duke  of 
Arcos,  and  died  in  1784. 

SILVA,  Domingo  Jos6  da,  a  Portuguese  die- 
cutter  and  medallist,  of  the  early  part  of  the  1 9th 
century,  was  also  an  engraver  of  some  note.  He 
was  a  pupil  of  Bartolozzi,  at  Lisbon,  in  1814,  and 
professor  at  the  Lisbon  Academy  in  1836. 

SILVA,  Henriquez  Jos^  de,  a  Portuguese  painter, 
■who  was  practising  about  1800.  He  held  the  post 
of  Director  of  the  Academy  of  Painting  at  Rio 
Janeiro. 

SILVESTRE,  (Sylvester,)  a  Scoto-French  family 
of  artists,  flourished  in  France  from  about  the  be- 
ginning of  the  17th  century.     The  following  table 
shows  the  relationship  of  its  members  : 
VOL.  V.  a 


GilIe8(I690?—    I. 


Francois  (1620  ?—    ). 


Isrtel  (1621—1691). 


Charles  Francois     Louis  the  elder     Alexandre     Louis  the  Voon^er 
■  ■  (1675—1760). 


(1607—1738?). 


(1669—1740). 


!1672- 


). 


Nicholas  Charles  (1698— 1767).    Suzanne  Elisabeth  (1691—    ). 

Jacques  Augustin  (1719—1809). 

I 
Augustin  Francois  (1762—1851). 

SILVESTRE,  Alexandre,  the  third  son  of 
Israel  Silvestre,  was  born  in  1672.  He  etched 
some  landscapes  after  Louis  Silvestre,  his  brother, 
which  are  not  without  merit. 

SILVESTRE,  Augustin  FRANgois,  Baron  de, 
painter  and  draughtsman,  the  son  of  Jacques 
Augustin,  and  the  last  representative  of  the 
family,  was  bom  in  Paris,  December  7th,  1762. 
He  studied  under  his  father,  and  in  Rome,  hoping 
to  succeed  to  the  office  of  drawing-master  to  tho 
royal  children,  which  had  been  held  by  members 
of  his  family  for  a  century  and  a  half.  On  his 
return  from  Italy,  however,  he  found  that  the  post 
had  been  abolished,  and  in  compensation,  he  was 
in  1782  appointed  assistant-librarian  to  Monsieur 
(afterwards  Louis  XVIII.).  From  this  time  he 
abandoned  painting,  and  devoted  himself  entirely 
to  scientific  pursuits.  He  was  employed  under 
both  the  Republic  and  the  Empire,  and  yet  was 
re-installed  as  librarian  and  reader  to  Louis 
XVIII.  at  the  Restoration,  receiving  the  title  of 
baron.  After  the  Revolution  of  1830  he  retired 
into  private  life,  and  died  in  Paris  in  September, 
1851. 

SILVESTRE,  Charles  Franqois  de,  painter,  en- 
graver, and  draughtsman,  was  the  eldest  son  of 
Israel  Silvestre,  and  was  born  in  Paris,  April  11, 
1667.  He  was  the  pupil  of  his  father,  of  Charles 
Lebrun,  and  of  J.  Pnrrocel,  but  finished  his  studies 
in  Italy.  On  the  death  of  his  father  in  1691,  he 
succeeded  to  the  office  of  drawing-master  to  the 
French  royal  children,  and  to  the  apartments  which 
had  been  occupied  by  Israel  in  the  Gallery  of 
the  Louvre.  He  was  ennobled  by  Augustus  IIL 
of  Poland.  He  married  Suzanne  Thuret,  the 
niece  of  Jacques  Thuret,  a  famous  clock-maker  of 
the  day,  and  died  in  Paris  about  1738.  He  en- 
graved many  landscapes  and  historical  subjects 
after  his  own  designs  and  those  of  his  youngest 
brother. 

SILVESTRE,  GiLLES,  the  first  of  the  painters 
of  the  Silvestre  family.  Of  Scottish  origin,  the  name 
being  originally  Sylvester,  they  had  settled  in 
Lorraine  at  the  beginning  of  the  16th  century. 
Gilles,  who  was  born  at  Nancy  about  1590,  married 
Elizabeth  Henriet,  daughter  of  Claude  Henriet, 
painter  to  the  Duke  of  Lorraine,  and  then,  although 
no  longer  a  youth,  determined  to  devote  himself 
to  painting.  His  son  FRANgois,  born  at  Nancy 
about  1620,  was  his  father's  pupil,  and  a  draughts- 
man and  engraver  of  landscapes. 

SILVESTRE,  Israel,  an  eminent  French  en- 
graver and  son  of  Gilles  Silvestre,  was  born  at 
Nancy,  in  Lorraine,  in  1621.  He  was  the  nephew 
of  Israel  Henriet,  by  whom  he  is  supposed  to  have 
been  instructed.  He  formed  his  style  on  Delia 
Bella  and  Callot,  and  appears  to  have  been  imi- 
tated in  his  turn  by  Sebastian  Le  Clerc.  He 
designed,  etched,  and  engraved  a  great  number 
of  landscapes  and  views,  decorating  them  with 
small  figures,  correctly  drawn,  and  touched  with 
uncommon  spirit.  His  merit  recommended  him  to 
Louis  XIV.,  who  employed  him  in  designing  and 
engraving  views  of  royal  palaces,  public  festivals, 

81 


A  BIOGRAPHICAL   DICTIONAKY  OF 


and  the  places  Louis  had  conquered.  He  was  ap- 
pointed drawing-master  to  the  Dauphin,  and  was 
made  a  member  of  the  Academy.  He  went  twice 
to  Italy,  where  he  found  many  subjects.  His 
plates  amount  to  upwards  of  one  thousand.  He 
died  in  Paris  in  1691.  His  daughter  SnSANNE, 
who  was  married  to  the  painter  Le  Moine,  engraved 
a  few  plates.  The  following  are  among  Israel's 
best  works : 

A  set  of  twenty-one  Views  in  Italy  and  France,  repre- 
senting edifices,  ruins,  and  landscapes,  with  inscrip- 
tions in  French. 

A  set  of  thirteen  Views  in  Rome  and  the  environs ;  in- 
scribed Faites  par  Israel  Silvestre,  et  viises  en  lumiere 
par  Israel  Henriet. 

Twelve  Views  of  gardens  and  fountains  ;  entitled  Alcunt 
vedute  de  Giardini  e  Fontane  di  Roma  e  di  Tivoli^  i^-c, 
with  descriptions  in  Italian. 

Four  Views  in  the  Kingdom  of  Naples,  in  the  form  of 
friezes. 

A  set  of  six  Views  of  Sea-ports  in  the  Kingdom  of  Naples ; 
circular  plates. 

Twenty-four  Views  of  Italian  and  other  Sea-ports ;  with 
descriptions  in  French  ;  circular  plates. 

Twelve  of  the  most  remarkable  Views  in  Paris  and  the 
environs,  some  of  which  are  engraved  by  Delia  Bella, 

A  View  of  Paris,  from  the  Bridge  of  the  Tuileries. 

A  large  View  of  Kome  ;  four  sheets. 

Two  Views  of  the  Campo  Vacciuo,  and  the  Coliseum  at 
Eorae. 

The  grand  Carousal,  or  Royal  Entertainment  at  Paris  in 
1 662  ;  in  one  hundred  and  eight  prints.  F.  Chaveau 
engraved  some  of  these  plates. 

The  Pleasures  of  the  Enchanted  Island  ;  nine  Plates, 
with  a  vignette. 

'  Paysages  Diversea  ; '  seventy-foiu*  views  of  Palaces, 
churches,  &c.,  in  France  and  Italy. 

*  Vues  Diverses  de  Rom  ■  et  d'  Italic  ; '  one  hundred  and 
five  views  of  Italian  scenery. 

SILVESTRE,  Jacques  Augustin  de,  painter, 
the  son  and  pupil  of  Nicholas  Charles,  was  born 
in  Paris,  August  1,  1719.  He  succeeded  his  father 
as  drawing-master  to  the  French  royal  children. 
During  a  three  years'  sojourn  in  Rome,  he  made 
drawings  of  most  of  the  antiquities  of  the  city. 
His  fine  collection  of  prints  was  sold  after  his 
death,  which  took  place  in  Paris,  in  1809. 

SILVESTRE,  LoDis,  called  Louis  the  Elder,  the 
second  son  of  Israel  Silvestre,  was  born  in  Paris, 
March  20,  1669,  and  was  taught  by  his  father. 
Particulars  as  to  his  works  are  lacking,  but  he 
appears  to  have  painted  landscapes,  as  he  was  re- 
ceived at  the  Academy  in  1705  with  a  work  of  that 
class.     He  died  in  Paris,  in  1740. 

SILVESTRE,  Louis,  the  younger,  fourth  son 
of  Israel  Silvestre,  and  the  homonym  of  his  elder 
brother,  was  born  in  Paris  in  1675.  He  was  a 
pupil  of  Le  Brun  and  Bon  BouUogne,  and  entered 
the  Academy  in  1702.  His  election  picture,  '  The 
Creation  of  Man  by  Prometlieus,'  is  now  at  Mont- 
pellier.  Having  gained  a  great  reputation  for  his 
portraits  and  landscapes,  he  was  invited  to  the 
court  of  Augustus  III.,  at  Dresden,  whence,  after  a 
residence  of  thirty  years,  during  part  of  which  he 
was  director  of  the  gallery,  he  returned  to  Paris, 
and  was  appointed  to  the  corresponding  post  there. 
He  died  in  Paris  in  1760. 

SILVESTRE,  Nicholas  Charles  de,  the  son  of 
Charles  Francois,  was  born  in  Paris  in  1698.  He 
was  drawing-master  to  tlie  royal  family,  and  died 
in  1767.     The  following  plates  may  be  named  : 

Ubaldo  and  the  Danish  Knight  searching  for  Rinaldo  in 

the  palace  of  Armida  ;  after  Le  Moine. 
A  Huutiug-piece  ;  after  Audray. 

SILVESTRO,  an  early  Florentine  painter,  was  a 
82 


Caraaldolese  monk  in  the  Convent  of  Santa  Maria 
degli  Angeli  at  Florence.  He  flourished  from 
about  1350  to  1410,  and  was  one  of  the  best  missal 
painters  of  his  time.  A  splendid  mass-book,  for 
his  own  monastery,  mentioned  by  Vasari,  remained 
there  for  centuries,  and  was  praised  by  Leo  X.  in 
1513.  It  was  brought  to  England  by  Ottley,  and 
one  of  the  miniatures  from  it,  a  birth  of  St.  John 
the  Baptist,  in  the  presence  of  the  Virgin,  is  now 
in  the  Liverpool  Institution.  Others  were  in  the 
Fuller  Russell  collection,  now  dispersed. 

SILVIO,  Giovanni,  a  native  of  Venice,  who 
flourished  about  the  year  1532.  He  is  supposed  to 
have  been  educated  in  the  school  of  Titian.  In 
the  Collegiata  di  Piovi  di  Sacco,  near  Padua,  is  a 
picture  by  him  bearing  the  above  date.  It  repre- 
sents St.  Martin  between  SS.  Peter  and  Paul,  with 
three  angels,  two  of  which  are  supporting  his 
crosier,  and  the  third  playing  on  the  harp. 

SILVIUS,  Anthony,  (SYLVIUS,)  whom  Papillon 
calls  Silvius  Antonianus,  are  the  supposed  names 
of  a  draughtsman  and  wood-engraver,  who  used 

the  monogram      A      and  flourished  from  1553  to 

about  1580.  It  is  said  that  he  was  born  at  Antwerp 
in  1525,  and  was  much  employed  by  Christopher 
Plantin,  and  other  printers.  The  names,  however, 
of  Silvius  Antonianus  seem  to  be  a  mistake.  It 
appears  that  Papillon  had  observed  the  above 
monogram  on  the  wood-outs  to  an  edition  of 
Faerno's  Fables,  printed  at  Antwerp  in  1567,  and 
dedicated  to  Cardinal  Borromeo  by  Silvio  Anto- 
niano,  professor  of  Belles  Lettres  at  Rome,  and 
afterwards  a  cardinal  himself,  and  had  hastily  con- 
cluded that  the  editor  was  the  engraver.  Nagler 
has  given  a  catalogue  of  books  to  which  the  en- 
graver who  used  the  above  monogram  contributed 
wood-cuts,  vifjnettes,  or  title-pages. 

SILVIUS,  Balthasab,  a  German  engraver,  who 
flourished  about  the  year  1565.  He  executed  some 
coarse  plates,  chiefly  from  his  own  designs.  They 
are  usually  marked  with  the  initials  B.  S.  He  also 
engraved  after  Frans  Floris,  Karl  Van  Mander, 
Jerome  Bos,  and  others. 

SIMANOWITZ,  LuDOViKE  von,  n^e  Reiohenbach, 
was  born  in  Stiittgart  in  1761.  She  painted  por- 
traits of  Schiller  and  the  painter  Wachter.  She 
died  at  Ludwigsburg  in  1827. 

SIMART,  P.  C.  This  eminent  sculptor  deserves 
attention  on  account  of  the  exquisite  drawings 
which  he  made  in  the  early  part  of  his  career. 
His  life  was  a  continual  struggle,  as  he  met  with 
the  greatest  possible  opposition  from  his  family 
when  he  desired  to  enter  the  artistic  profession, 
and  he  received  practical  persecution  for  refusing 
to  take  up  a  commercial  career.  He  was  a  native 
of  Troyes,  born  in  1806,  but  it  was  not  till  1840 
that  he  acquired  any  eminence  as  a  sculptor. 
Meantime,  from  the  age  of  fifteen,  he  had  sus- 
tained himself  by  the  sale  of  his  drawings,  most 
of  which  represented  works  of  sculpture,  which 
he  copied  in  the  various  museums  he  visited,  and 
which  he  drew  with  the  utmost  accuracy  and  skill. 
He  was  a  man  of  anxious  and  somewliat  melan- 
choly temperament,  and  his  letters,  which  have 
been  published,  reveal  the  details  of  a  very  sad 
life.  Between  1840  and  1848  he  was  engaged  upon 
his  best  work  in  sculpture,  but  during  the  last  few 
years  of  his  life  he  had  the  commission  to  decorate 
the  tomb  of  Napoleon  I.,  and  the  ceiling  of  two 
picture  galleries  in  the  Louvre.  He  was  never 
really  happy,  however,  with  flat  decoration,  his 


PAINTERS  AND  ENGRAVERS. 


genius  being  in  the  direction  of  sculpture.  After 
his  death  in  1857  his  worlia  were  much  better 
appreciated,  and  at  his  native  town  of  Troyes  a 
considerable  part  of  the  local  Museum  is  given 
up  to  the  work  of  this  talented  artist.  A  little 
of  the  encouragement  so  gladly  given  after  his 
death  would  have  enabled  him  to  produce 
even  greater  works,  and  would  have  reflected 
more  honour  upon  the  people  amongst  whom  he 
lived. 

SIMBRECHT,  Mathias,  was  born  at  Munich. 
He  died  at  Prague  of  the  plague,  in  1 680,  probably  at 
an  early  age,  the  number  of  his  pictures  being  very 
small.  It  is  not  known  where  lie  received  his  first 
instruction,  but  the  effects  of  a  profound  study 
of  Raphael  are  visible  in  his  works,  and  indicate 
a  sojourn  of  some  length  in  Italy.  There  is  an 
altar-piece  in  the  church  of  S.  Stephen  at  Prague 
by  him  ;  a  '  Visitation  '  in  the  Museum,  and  further 
a  '  S.  Rosalie  '  and  an  '  Education  of  the  Virgin.' 

SIMLER,  JoHANN,  a  Swiss  painter  and  engraver, 
born  at  Zurich  in  1693.  He  studied  for  a  short 
time  under  Pesne  at  Berlin,  and  was  a  pupil  of  the 
engraver  Melchior  Fuessli.     He  died  in  1748. 

SIMMLER,  Friedrich  Karl  Joseph,  landscape 
and  animal  painter,  born  in  1801  at  Hanau,  whither 
his  parents  had  fled  from  the  French,  studied  at 
Munich  and  Vienna.  He  made  excursions  through 
Upper  Austria  and  Styria,  studying  landscape  and 
animal  painting.  He  paid  long  visits  to  Florence, 
Rome,  Venice,  and  Naples,  and,  in  1829,  went  to 
Hanover  to  paint  some  portraits  at  the  request  of 
the  Minister  von  Bremer.  He  painted  in  the  land- 
scapes of  Schullen,  Bocking,  and  Grieben,  while 
Achenbach  and  Scheuren  occasionally  painted  back- 
grounds to  his  cattle.  In  1862  he  went  to  live  at 
Aschaffenburg,  where  he  died  in  1872.  His  three 
sons  all  devoted  themselves  to  art.     Works  : 

View  of  Bergen. 

View  of  Buteulieim. 

Landscape  with  Goetz  von  Berlichingen. 

Bull  and  Sheep.     {Berlin,  RaczyniaKi  Col.) 

Dutch  Landscape.     (Late  Duke  of  Cambridge's  Col.) 

SIMMLER,  Joseph,  historical  and  portrait 
painter,  born  at  Warsaw  in  1823,  was  a  pupil  of 
the  Munich  Academy.  He  painted  portraits  and 
historical  pictures,  and  died  at  Warsaw  in  1868. 

SIMMONS,  John,  bom  at  Nailsea  in  Somerset- 
shire, about  1715,  was  a  house  and  ship's  painter  at 
Bristol.  His  name  appears  in  the  early  catalogues 
of  the  Royal  Academy  as  a  portrait  painter.  There 
is  an  altar-piece  by  him  in  All  Saints'  church, 
Bristol,  and  another  in  S.  John's,  Devizes.  Many 
of  his  portraits  have  been  engraved,  among  them 
that  of  Ferguson,  the  astronomer.  It  is  said  he 
was  known  to  Hogarth,  who  thought  well  of  his 
talents.  In  the  Academy  catalogues  his  name  is 
sometimes  printed  Simmonds  of  Bristol.  He  died 
at  Bristol,  January  18,  1780. 

SIMMONS,  William  Heney,  engraver,  bom  in 
London,  June  11,  1811.  He  studied  engraving  at 
Finden's  Institute,  and  was  for  many  years  perhaps 
the  chief  of  English  workers  in  his  own  line.  He 
first  appeared  at  the  Royal  Academy  with  two 
plates  after  Prank  Stone,  and  his  last  exhibited 
plate  was  'A  Humble  Servant,'  after  Rosa  Bon- 
heur,  a  proof  of  which  was  at  the  Academy  at  the 
time  of  his  death.  His  last  work  was  to  etch  the 
plate  from  'The  Lion  at  Home,'  which  was  com- 
pleted after  his  death  by  Mr.  Atkinson.  He  died 
Nov.  6,  1882.  The  following  is  a  list  of  his  cliief 
plates : 

G2 


Rustic  Beauty.    1837. 
Catherine  Seyton,     1850. 

■Well-bred  Sitters  ;   after  Sir  E.  Landseer.     137.5. 
Dominion  ;  after  the  same. 
On  Trust ;  after  the  same. 
Eoyal  Sport ;  after  the  same. 
The  Sick  Monkey ;  after  the  same. 
Taming  of  the  Shrew  ;  after  the  same. 
The  Fatal  Duel ;  after  the  same. 
The  Proscribed  Royalist ;  after  Sir  John  ilillaii. 
The  Lost  Kece  of  Money  ;  after  the  same. 
Rosalind  and  Celia  ;  after  the  same. 
Highland  Mary  ;  after  T.  Faed. 
Daddy's  a-comiug ;  after  the  same. 
Sunday  in  the  Backwoods  ;  after  the  same. 
The  Poor  Man's  Friend  ;  after  the  same. 
A  Wee  Bit  Fractious  ;  after  the  same. 
Baith  Faither  and  Mither  ;  after  the  saTne, 
The  Last  of  the  Clan  ;  after  the  same. 
His  only  Pair  ;  after  the  same. 
New  Wars  to  an  old  Soldier ;  after  the  same. 
Waiting  for  the  Verdict ;  after  A.  Solomon. 
Not  Guilty  ;  after  the  same. 
Both  Puzzled  ;  after  Erskine  Nichol. 
*  Steady,  Johnny,  Steady! '  after  the  same. 
The  Light  of  the  World  ;  after  Holman  Hunt. 
Claudio  and  Isabella  ;  after  the  sayiie. 
News  of  our  Marriage  ;  after  Tissot. 
Marriage  of  the  Prince  of  Wales ;  after  Frith. 
'  Luff,  boy ' ;  after  Hook. 
An  Old  Monarch  ;  after  Eosa  Bonheur. 
A  Humble  Servant ;  after  the  same. 
And  plates  after  Le  Ji-une,  Van  Lerius,  Winterhalter,and 
others. 

SIMO,  or  SIMONE,  Juan  Bautista,  a  Spanish 
painter,  and  native  of  Valencia,  in  which  city  he 
was  associated  with  Antonio  Palomino,  in  1697, 
on  frescoes  for  S.  Juan  del  Mercado.  He  accom- 
panied Palomino  to  Madrid,  where  he  painted  in 
the  convent  church  of  S.  Felipe  el  Real.  He  left 
these  paintings  unfinished  at  his  death  in  1717,  and 
they  were  completed  by  his  son,  Pedko  Simo,  also 
an  artist  of  some  merit. 

SIMON  de  CHALONS,  a  French  painter  of  the 
16th  century,  a  native  of  Chalons  in  Champagne. 
From  about  1545  to  1565  he  was  established  at 
Avignon,  where  four  pictures  by  him,  'The  Ador- 
ation of  the  Magi,'  and  '  Our  Lady  of  Pity,'  in  the 
Calvet  Museum,  a  'Nativity'  in  the  church  of  S. 
Peter,  and  a  'Descent  of  the  Holy  Ghost'  in  the 
church  of  S.  Didier,  are  to  be  found. 

SIMON  OF  Belluna.    See  Simone  da  Cusighe. 

SIMON,  Jean,  engraver,  a  native  of  Normandy, 
born  in  1675,  was  trained  in  his  own  country,  but 
came  to  England  some  years  before  the  death  of 
John  Smith,  and  on  seeing  that  artist's  work,  he 
quitted  the  graver,  and  applied  himself  entirely 
to  scraping  mezzotints.  Sir  Godfrey  Kneller,  upon 
some  difference  between  himself  and  Smith,  em- 
ployed Simon  to  engrave  some  of  his  pictures  in 
mezzotint.  This  he  did  with  a  success  which  did 
not  desert  him  when  he  turned  to  the  works  of 
other  masters.     Among  his  plates  we  may  name  : 

Queen  Elizabeth  ;  after  Hilliard. 

Charles  I. ;  after  Vandyck. 

William  III. ;  after  Kneller. 

Mary  II. ;  after  Vander  I'aart. 

Queen  Anne  ;  after  Kneller. 

George,  Prince  of  Denmark. 

George  I. ;  after  Kneller. 

George  II.,  when  Prince  of  Wales  ;  after  the  same. 

John,  Lord  Outts  ;  after  the  same. 

William,  Earl  of  Oadogau  ;  after  the  same. 

John  TillotsoQ,  Archbishop  of  Canterbury ;    after  t/tg 

same. 
John,  Lord  Somers ;  after  the  same. 
Sir  William  Temple  ;  after  the  same. 
William,  Earl  of  Cadogan ;  after  La  Guerre. 

83 


A  BIOGRAPHICAL  DICTIONARY  OF 


Horace,  Lord  Walpole  ;  aper  I'anloo. 

Half-length  of  the  Princess  Mary,daaghter  of  George  II. 

William  Shakespeare. 

John  Milton. 

Alexander  Pope. 

Joseph  Addison. 

Eichard  Steele. 

Peter  delivered  from  Prison  ;  after  Berchet. 

The  Cartoons  ;  after  Raphael. 

Christ  and  His  Apostles ;  after  Barocno. 

Christ  restoring  Sight  to  the  Blind  ;  after  Layuerre. 

The  Samaritan  "Woman  ;  aftt^r  the  same. 

I'ortrait  of  the  Hon.  Mrs.  Walpole  ;  after  M.  Dahl. 

Mary  Stuart. 

Dorastus  and  Fannia ;  after  Berchet. 

A  Pastoral  Landscape. 

Simon  died  in  London  about  1755. 

SIMON,  PiEREE,  a  French  engraver,  bom  in 
Paris  in  1640,  is  supposed  to  have  been  a  pupil  of 
Robert  Nanteuil,  to  whose  style  his  bears  great 
resemblance.  His  best  plates  are  his  portraits, 
some  of  which  are  from  his  own  designs.  We 
have,  among  others : 

Louis  XIV.  ;  after  C.  Le  Brun. 

Louis   de   Bourbon,  Prince   de   Conde ;  from  his  oion 

design. 
Anne  Marie  Louise  d'Orleans,  Duchesse  de  Montpensier ; 

the  same. 
Elizabeth  Charlotte,  Duchesse  d'Orleans ;  the  same. 
Charles  d'Ailly,  Due  de  Chaulnes ;  after  La  Borde, 
Cardinal  Kospigliosi ;  after  C.  Marat ti. 
Federigo  Baroccio,  Painter. 

Among  his  historical  prints  we  have  : 

The  Martyrdom  of  St.  Cosmus  and  St.  Damianus ;  after 

S.  Eosa. 
Moses  and  the  Burning  Bush ;  after  N.  Poussin. 

Simon  died  in  Paris  in  1710. 

SIMON,  PiEREE,  called  the  Younger,  a  draughts- 
man and  engraver  in  the  chalk  and  dotted  manner, 
was  born  in  London  before  1750.  He  was  early 
engaged  upon  plates  for  Worlidge's  '  Antique 
Gems,'  and  was  one  of  the  engravers  employed  by 
Boydell  on  his  Shakspeare  gallery,  and  on  other 
pictures  by  contemporary  painters.  His  best  work 
was  done  for  the  Shakspeare  gallery  ;  these  are 
the  plates : 

A  scene  from  the  *  Tempest ' ;  after  Fuseli. 

'  The  Merry  Wives  of  Windsor,*  two  plates,  one  after 

Smirke,  and  the  other  after  the  Rev.  W.  Peters. 
Scene  from '  Much  Ado  about  Nothing  * ;  after  the  same. 
Scene  from  '  Measure  for  Measure  ' ;  after  T.  Kirk. 
The  '  Midsummer  Night's  Dream  ' ;  after  Fuseli. 
Scene  from  the  *  Merchant  of  Venice ' ;  after  Smirke. 
Scene  from  '  As  You  Like  It ' ;  after  W.  Hamilton. 
Scene  from  '  Taming  of  the  Shrew  ';  after  F.  Wheatley. 
Christopher  Sly  ;  after  Smirke. 
Scene  from  '  Henry  IV.' ;  after  R.  Westall. 
Scene  from  '  Romeo  and  Juliet ' ;  after  W.  Miller. 

We  may  also  name  : 

The  Woodman  ;  after  Gainsborough. 

Square  discovered  by  Tom  Jones  in  Molly  Seagrim's 

bedroom  ;  after  Ttownman. 
The  Sleeping  Nymph  ;  after  Opie. 
Frances  Isabella  Ker  Gordon  ;  after  Sir  J.  Reynolds. 
The  Three  Holy  Children  ;  after  the  Rev.  W.  Peters. 
Bust  of  Clytie  ;  after  J.  B.  Cipriani. 
The  Fair  Emmeline,  and  a  subject  from  the  '  Vicar  of 

Wakefield  ' ;  after  Stothard. 

Pierre  Simon  died  about  1810. 

SIMON,  Thomas.  This  very  great  seal  en- 
graver, the  younger  brother  of  Abraham  Simon 
the  medallist,  was  the  creator  of  the  wonderful 
crown  piece  known  as  the  "  Petition  Crown."  The 
original  drawing  for  this  coin  is  said  to  have  been 
in  the  possession  of  the  Crown  for  many  years,  but 
cannot  now  be  found.     The  coin  was  submitted  to 

84 


the  King  in  1663,  and  was  one  of  the  most  beau- 
tiful pieces  of  money  ever  struck.  Simon  engraved 
many  of  the  Royal  seals  for  Charles  11.,  and 
his  work  is  of  great  technical  excellence  and  re- 
markable beauty.  He  always  took  the  greatest 
care  that  his  designs  and  the  relief  of  them  should 
be  consonant  with  the  character  of  the  coin  or  seal. 
He  is  believed  to  have  been  born  in  Guernsey,  about 
1620  ;  he  died  in  London  in  1665  of  the  plague. 

SIMON  DE  TROYES,  a  French  miniaturist  of  the 
15th  century.  He  worked  for  the  church  of  S. 
Peter  at  Troyes,  and  died  in  1450. 

SIMONAU,  Franqois,  a  painter  of  the  Flemish 
school,  born  at  Bomliem  in  1783.  He  studied  at 
Bruges,  and  in  Paris,  under  Gros.  He  came  to 
England  about  1815,  and  settled  in  London,  where 
he  had  a  good  practice  as  a  portrait  painter.  He 
died  in  London  in  1859.  There  is  a  portrait  by 
him  in  the  Museum  at  Brussels. 

SIMONAU,  Gdstavb  Adolphe,  the  nephew  of 
Frangois  Simonau,  was  born  at  Bruges  in  1810. 
He  came  to  London,where  his  father  was  established 
as  a  lithographer.  He  took  up  painting,  producing 
views  of  towns  in  watei-colours,  and  his  chief  work, 
'  The  principal  Gothic  Monuments  of  Europe,'  was 
lithographed  by  himself.  Later  in  life  he  was  en- 
gaged as  an  architectural  painter  in  Belgium.  He 
died  at  Brussels  in  1870. 

SIMONE,  Antonio  di,  a  Neapolitan  painter  of 
the  18th  century.  He  painted  battle-pieces  and 
landscapes,  and  occasionally  figures  in  the  pictures 
of  Niccol6  Massaro.  He  must  not  be  confounded 
with  another  Antonio  di  Simone,  who  lived  in  the 
17th  century,  and  was  a  scholar  of  Luca  Giordano. 

SIMONE,  Maestro.     See  Degl'  Avanzi. 

SIMONE  DA  CUSIGHE,  (da  BELLnNO,)  sometimes 
also  called  Simone  dal  Peron,  Cusighe  and  Peron 
both  being  villages  near  Belluno.  Simone  died 
before  1416,  but  the  date  of  his  birth  is  unknown. 
In  1397  he  finished  the  altar-piece  for  the  high 
altar  in  the  Duomo  of  Belluno,  receiving  440 
lire  for  his  work.  In  the  Baptistery  at  Belluno, 
there  is  an  altar-piece  in  thirteen  compartments  by 
him,  formerly  in  the  church  of  S.  Martino.  The 
four  lower  panels  were  either  added  or  entirely  re- 
painted in  the  17th  century.  Another  work  is : 
an  altar-piece  in  the  Casa  Pagani,  once  in  the 
church  of  Sala.  It  is  in  nine  panels,  the  Virgin  of 
Mercy  in  the  centre,  flanked  by  scenes  from  the 
Life  of  S.  Bartholomew.  In  the  same  collection 
is  a  'S.  Anthony  Abbot,'  enthroned  between  Saints. 
In  the  parish  church  at  Sala  there  are  some  remains 
of  frescoes  by  him,  and  in  the  Chiesetta  della 
Madonna  a  few  small  panels  in  tempera. 

SIMONE  de'  CROCIFISSI.  See  Bologna,  Simone 

DA. 

SIMONE  Di  MARTINO.    See  Martini,  Simone. 

SIMONE  NAPOLITANO,  an  eariy  painter  at 
Naples,  all  accounts  of  whom  are,  however,  obscure 
and  doubtful.  He  is  supposed  to  have  flourished 
about  the  end  of  the  14th  or  first  part  of  the  15th 
century,  and  various  pictures  at  Naples  have  been 
assigned  to  him,  some  of  which,  from  the  dates 
inscribed  upon  them,  have  clearly  not  a  common 
author.  One  of  these  in  the  church  of  San  Lorenzo 
Maggiore  is  now  proved,  by  an  inscription  which 
it  bears,  to  be  the  work  of  a  Sienese  painter,  who 
was  probably  established  at  Naples.  The  following 
works  at  Naples  are  ascribed  to  Simone  : 

The  Nobles  and  Statesmen  of  the  Kingdom  lameuting 
the  Death  of  King  Robert,  (/n  the  nave  of  S. 
Chiara.) 


PAINTERS  AND  ENGRAVERS. 


S.  Louis  of  France  and  others  at  the  grave  of  King 

Eobert.     1343.     {Refectory  of  S.  Chiara.) 
Saint  Anthony.     1438.     {S.  Lorenzo  Maygiore.) 
S.  Louis  crowning  King  Kobert.    (S.  Lorenzo  Maggiore.) 
The  Crucifixion,  a  Triptych.     1412.     {In  the  Duonio.) 
Madonna  della  Rosa.     (.S'.  Domenico  Mogyiore,) 
A  Virgin  and  Child.    {S.  Domenico  Maggiore.) 

One  Fran'cesco  Simone  is  said  to  have  been  his 
son  and  pupil. 

SIMONE  PAPA.    See  Papa. 

SIMONEAU,  Charles,  an  eminent  French  en- 
graver, born  at  Orleans  in  1645,  was  instnicted 
by  Noel  Coypel  and  Guillaume  Chasteau.  His  first 
plates  were  executed  with  the  graver  only,  in  a  style 
resembling  that  cf  Poilly,  but  he  afterwards  intro- 
duced the  point,  particularly  in  the  half-tones  and 
distances.  He  engraved  historical  subjects,  por- 
traits, and  vignettes.  He  was  received  into  the 
Academy  in  1710,  and  died  in  Paris  in  1728.  His 
plates  number  about  one  hundred  and  fifty;  among 
them  we  may  name  : 

Henrietta  Maria,  consort  of  Charles  I. 
The  Duchess  Dowager  of  Orleans  ;  after  Rigavd. 
Ch.  Fr.  de  Brienne,  Bishop  of  Constance  ;  after  Dumee. 
J.  H.  Mansart,  Architect  to  the  King  ;  after  de  Troy, 
George  Villiers  Duke  of  Buckingham. 
The  Holy  Family  ;  after  Raphael. 
The  Virgin  and  Child,  with  3.  John  ;  after  the  sanie. 
The  Adoration  of  the  Shepherds  ;  after  Ann.  Carracci. 
Christ  and  the  "Woman  of  Samaria ;  after  the  same. 
Hagar  and  Ishmael ;  after  A  ndrea  Sacchi. 
A  Madonna  ;  after  Frd.  Bartolommeo. 
The  Stoning  of  Stephen  ;  after  Ann.  Carracci. 
Christ,  with  Martha  and  Mary  ;  after  Domenichino. 
Christ's  Entry  into  Jerusalem  ;  after  C.  Le  Bruii. 
Christ  bearing  His  Cross  ;  after  the  same. 
The  Nativity  ;  after  Noel  Coypel. 
Christ  among  the  Doctors  ;  after  Ant.  Coypel. 
The  Triumph  of  Galatea  ;  after  the  same. 
Venus  curing  the  "Wound  of  ^neas  ;  after  C.  de  la  Fosse. 
The  Journey  of  Marie  de'  Medicis  ;  after  Rubens. 
The  Conquest   of  Franche-Corat6 ;  after  C.  Le  Brun ; 
his  best  print. 

SIMONEAU,  Lonis,  the  younger  brother  of 
Charles  Simoneau,  was  born  at  Orleans  in  1664. 
He  appears  to  have  formed  his  style  by  an  imitation 
of  the  works  of  the  Audrans.  By  combining  the 
point  with  the  graver,  he  gave  a  pleasing  variety 
to  his  plates,  and  his  drawing  is  correct.  He  died 
in  Paris  in  1727.  The  following  are,  perhaps,  his 
best  prints  : 

Giacinto  Serroni,  Archbishop  of  Albi. 

Antoine  Amauld  ;  after  Fh.  de  Champagne. 

Antoiue  le  Maitre,  Advocate  ;  after  the  same. 

Martin  de  Charmois,  Councillor  ;  after  &'eb.  Bourdon. 

Susanna  and  the  Elders  ;  after  A  nt.  Coypel. 

Lot  and  his  Daughters ;  after  the  same. 

Christ  with  Martha  and  Mary ;  after  the  same. 

Christ  bearing  the  Cross  ;  after  Ant.  Bieu. 

The  Elevation  of  the  Cross  ;  after  the  same. 

The  Crucifixion  ;  aftei'  the  same. 

The  Assumption  of  the  Virgin  ;  after  a  ceiling  by  Le 

Brnn  in  St.  Sulpice. 
The  Four  Times  of  the  Day  ;  four  plates  ;  after  the  same. 
The  Four  Seasons  ;  four  plates  ;  after  the  same. 
The  ceiling  of  the  Pavilion  of  Aurora,  in  the  Jardin  de 

Sceaax  ;  in  four  plates  ;  after  the  same. 

SIMONEAU,  Philippe,  the  son  of  Charles  Si- 
moneau,was  instructed  by  his  father.  Either  from 
want  of  talent  or  application,  he  never  made  much 
progress  in  art.  We  have  the  following  prints  by 
him,  which  do  not  possess  much  merit  : 

The  Rape  of  the  Sabines,  and  the  Peace  between  the 
Romans  and  the  Sabines  ;  after  the  pictures  by  Giulio 
Romano  (?  Rina/Jo  ilantovano)  in  the  National 
Gallery. 


The  three  Goddesses  preparing  for  the  Judgment  of 

Paris  ;  after  Perino  del  Vaga, 
Venus  and  Adonis ;  after  Albano. 

SIMONELLI,  Giuseppe,  a  Neapolitan  painter, 
born  1649.  Originally  the  servant  of  Luca  Gior- 
dano, he  became  a  successful  imitator  of  his  style. 
A  '  St.  Nicholas  of  Tolentino,'  which  he  painted  for 
the  church  of  Montesanto,  was  said  to  equal  the 
best  work  of  his  master.     He  died  in  1713. 

SIMONET,  Jean  Baptiste,  an  engraver  of  con- 
siderable merit,  was  born  in  Paris  in  1742.  His 
plates  are  chiefly  after  Greuze,  Moreau,  Baudoin,  and 
Aubry.  He  engraved  '  Rachel  hiding  her  Father's 
Idols,'  after  Pietro  da  Cortona,  for  the  Orleans 
Gallery,  the  vignettes  for  an  edition  of  Ovid's 
'  Metamorphoses,'  published  by  Basan,  and  illus- 
trations for  an  edition  of  Racine.  He  died  in  Paris 
in  1810. 

SIMONETTI,  Domenico,  (called  Magatta,)  a 
painter  of  the  Roman  school,  who  flourished  in  the 
18th  century.  He  is  mentioned  by  Lanzi  as  having 
furnished  many  pictures  for  churches,  especially 
for  the  Suff ragio,  at  Rome. 

SIMONINI,  Francesco,  bom  at  Parma  in  1689, 
was  a  scholar  of  Ilario  Spolverini.  He  painted 
battles,  and  cavalry  skirmishes,  which  were  well 
composed,  and  handled  with  spirit.  He  lived  at 
"Venice,  where  he  was  still  working  in  1753. 

SIMONIS-EMPIS,  Catherine  Edm^e,  Madame, 
a  French  landscape  painter,  born  in  1806.  She  was 
a  pupil  of  Watelet,  and  died  in  1878. 

SIMONS,  J.  B.,  a  Flemish  painter,  practising 
about  1743.  He  is  known  by  two  signed  pictures 
in  the  Augustine  church  at  Ghent. 

SIMONS,  M.,  a  Dutch  painter  of  still-life,  of  the 
17th  century.     His  works  are  mostly  in  America. 

SIMONSBN,  Niels,  painter  and  sculptor,  was 
born  at  Copenhagen  in  1807,  and  was  first  appren- 
ticed to  a  house  painter,  but  afterwards  studied  in 
the  Academy,  and  in  1826  in  Lund's  atelier.  Later 
in  his  career  he  devoted  liimself  for  some  j-ears  to 
sculpture,  but  finally  reverted  to  painting,  and 
worked  from  1833  to  1845  at  Munich.  In  the 
latter  year  he  returned  and  settled  at  Copenhagen. 
He  served  in  the  campaign  of  1848,  and  painted 
many  of  its  incidents.  He  afterwards  visited 
Sweden  and  Italy,  and  died  in  1885.  Two  of  his 
pictures  are  in  the  Royal  Danish  Gallery. 

SIMPLICE,  a  Veronese  monk,  who  was  the  pupil 
of  Felice  Riccio  (Brusasorci).  He  practised  at 
Rome,  and  died  in  1654,  at  a  very  advanced  age. 

SIMPOL,  Claude  de,  (or  Saint  Pol,)  a  French 
historical  painter,  born  at  Glamecy,  was  a  pupil  of 
BouUogne.  He  was  elected  into  the  Academy  in 
1701,  but  expelled  in  1709,  for  neglecting  to  send 
in  his  reception-picture.  His  '  Christ  at  the  House 
of  Martha  and  Mary '  was  engraved  by  Dore  and 
Tardieu.     He  died  in  Paris,  October  31,  1716. 

SIMPSON,  Francis,  an  English  antiquarian 
draughtsman,  born  in  1796.  He  was  Mayor  of 
Staniford,  and  practised  art  as  a  pastime.  He  pub- 
lished a  volume  of  drawings  from  fonts,  and  died 
in  1861. 

SIMPSON,  John,  portrait  painter,  born  in  Lon- 
don in  1782,  studied  at  the  Academy  schools,  and 
was  for  many  years  assistant  to  Sir  Thomas  Law- 
rence. In  1834  he  went  to  Lisbon,  and  was 
appointed  painter  to  the  Queen  of  Portugal  He 
returned  to  England,  and  died  in  London  in  1847. 
In  the  National  Gallery  there  is  a  '  Negro's  Head ' 
by  him,  and  at  Windsor  Castle  a  portrait  of  the 
Duke  of  Brunswick. 

85 


A   BIOGRAPHICAL   DICTIONARY   OP 


SIMPSON,  Joseph,  the  elder,  practised  in  the 
reign  of  Queen  Anne.  According  to  Lord  Orford, 
his  first  employment  was  to  engrave  coats  of  arms 
on  pewter,  but  having  a  turn  for  drawing,  lie  found 
access  to  a  society  of  Artists,  with  whom  he  studied 
the  figure.  He  was  afterwards  employed  by  Tille- 
raans  to  engrave  his  picture  of  Newniarliet.  To 
this  plate  he  affixed  his  name.  He  also  engraved 
after  Monamy,  Vandevelde,  Wootton,  and  Wyok. 
He  lived  about  the  year  1710. 

SIMPSON,  Joseph,  the  younger,  was  the  son  of 
Joseph  Simpson,  and  died  young,  in  the  year  1736. 
He  engraved  a  plate  of  a  '  Holy  Family,  with  S. 
John,  S.  Sebastian,  and  several  Aiigtls,'  after 
Filippo  Lauri,  dated  1728,  and  a  '  Charles  I.,'  after 
Vandyok. 

SIMPSON,  Matthew,  painter,  taught  drawing 
to  the  children  of  Charles  I.,  and  settled  later  in 
Sweden.  He  has  left  a  miniature  of  the  King, 
signed  M-  S. 

SIMPSON,  Philip,  an  English  subject  painter, 
the  son  of  John  Simpson  the  portrait  painter,  prac- 
tised in  the  early  part  of  the  19th  century.  He 
studied  in  the  schools  of  the  Academy,  where  he 
exhibited  up  to  1836.  There  is  in  the  Kensington 
Museum  a  picture,  '  I  will  fight,'  by  him. 

SIMPSON,  William,  an  English  engraver, 
working  in  1635.  He  was  chiefly  employed  by  the 
booksellers,  and,  among  other  things,  engraved  the 
plates  for  Quarles'  '  Emblems.' 

SIMPSON,  William,  painter,  lithographer,  and 
draughtsman,  was  born  on  Oct.  28,  1823,  in  Carrick 
Street,  Glasgo%v,  where  his  father  was  an  engineer. 
At  the  age  of  fourteen  he  was  apprenticed  to  a 
lithographic  printer  named  Macfarlane,  and  then 
worked  for  Messrs.  Allan  and  Ferguson,  a  Glasgow 
firm  of  lithographers,  devoting  his  spare  time  to 
sketching  from  nature  in  water-colours.  In  1851 
he  came  to  London,  found  immediate  employment 
with  Messrs.  Day  and  Sons,  the  foremost  litho- 
graphers of  their  time,  and  was  at  once  occupied 
in  producing  views  of  the  Great  Exhibition.  In 
1854  he  commenced  his  career  as  the  first  war 
artist,  being  sent  to  the  Crimea  by  Messrs. 
Colnaghi ;  and  for  forty  years  was  an  eye-witness 
of  every  great  war  and  political  event  in  the 
history  of  our  country.  '  The  Seat  of  War  in  the 
East'  was  pubHshed  by  Colnaghi  in  1855,  con- 
taining eighty  chromo-lithographs  after  Simpson's 
drawings.  For  Queen  Victoria  he  painted  a  picture 
of  Balaclava,  and  this  was  followed  by  frequent 
royal  commissions  for  water-colours  of  leading  his- 
torical and  domestic  events  of  the  Queen's  reign.  In 
1859,  after  the  close  of  the  Indian  Mutiny,  Simpson 
went  by  commission  for  Messrs.  Day  and  Son  to 
India.  He  brought  back  250  water-colour  draw- 
ings, but  owing  to  the  failure  of  the  firm,  fifty  only 
were  published  as  chromo-lithographs  in  1867 
with  tlie  title  '  India  Ancient  and  Modern.'  In 
1866  he  became  special  artist  to  the  '  Illustrated 
London  News,'  and  visited  Moscow  with  tlie 
Prince  and  Princess  of  Wales ;  in  1868  he  joined 
the  Abyssinian  Expedition,  and  in  the  following 
year  travelled  over  the  new  route  to  India.  In 
the  course  of  this  last  journey  he  visited  Jerusalem 
and  made  several  drawings  for  the  Palestine 
Exploration  Fund.  At  the  outbreak  of  the  Franco- 
German  war  in  1870  he  started  at  once  for  the 
front,  and  was  in  Paris  during  the  Commune.  He 
accompanied  the  Prince  of  Wales  to  India  in  1875, 
visited  Mycenae,  Troy  and  Ephesus  in  1877,  and 
went  through  the  Afghan  War  of  1878.     All  these 

86 


campaigns  and  journeys  were  recorded  in  a  mass 
of  water-colour  drawings  and  pencil-sketches. 
Many  appeared  as  book-illustrations,  and  a  large 
number  were  engraved  on  wood  in  the  '  Illustrated 
London  News.'  As  an  artist  he  was  an  indefati- 
gable worker,  but  he  had  manifold  interests  as  a 
student  as  well,  and  his  book  on  'The  Buddhist 
Praying- Wheel'  is  a  valuable  contribution  to  the 
history  of  religious  symbolism  in  the  East.  Simp- 
son was  elected  a  member  of  the  Royal  Institute 
in  1874,  and  exhibited  there  some  fifty  pictures  in 
all.  The  Victoria  and  Albert  Museum  possesses 
over  twenty  of  his  water-colour  drawings,  and  in 
the  Art  Library  are  two  volumes  containing 
several  hundreds  of  his  sketches  in  the  Crimea 
and  in  India.  Simpson  died  at  Willesden  on 
August  17,  1899.  His  Autobiography  was  pub- 
lished in  1903.  M.H. 

SIMSON,  George,  a  Scotch  portrait  painter,  bom 
at  Dundee  in  1791.  When  young,  he  worked  as  a 
printer,  and  did  not  devote  himself  to  art  till  he 
was  thirty.  He  became  a  member  of  the  Scottish 
Academy,  with  whom  his  works  were  exhibited. 
He  died  at  Edinburgh  in  1862. 

SIMSON,  William,  painter,  born  at  Dundee  in 
1800,  was  educated  at  the  Trustees'  Academy  in 
Edinburgh,  and  painted  at  first  coast  and  river 
scenes.  In  1830  he  was  elected  a  Member  of  the 
Royal  Scottish  Academy.  After  a  stay  of  three  years 
in  Italy,  he  settled  in  1838  in  London,  where  he 
died  in  1847.     Of  his  pictures  we  may  name: 

Cattle  Shed.     1842.     (South  Kensington.) 
Gil  Bias  and  Laura.     (Do.) 
Eel  Pots ;  sketch  from  nature.     1845.     (Do.) 
Scottish  Peasants.     1842.     (Do.) 
(Above  ttoo  are  in  water-colour.) 
Boats  at  Dordrecht.     (Scot.  Nat.  Gallery.) 
The  Twelfth  of  August.     (Do.) 
Solway  Moss.     (Do  ) 
Goat  Herd's  Cottage,  &c.     (Do.) 
Hagar  and  Ishmael.     (Bridgewater  Gallery.) 
A  Dutch  Family.    (Boivood  House.) 

SINGHER,  Hans,  (or  Jean,)  was  born  at  Hesse- 
Cassel  about  the  year  1510.  He  painted  landscapes, 
witli  figures,  in  a  free,  bold  manner,  and  chiefly  re- 
sided at  Antwerp,  where  he  was  received  into  the 
Academy  in  1543.  He  was  much  employed  in 
painting  cartoons  for  tapestry. 

SINGLETON,  Henry,  an  English  historical 
painter,  was  born  in  London  in  1766.  His  father 
died  while  he  was  yet  an  infant,  and  he  was  brought 
up  by  his  uncle,  a  miniature  painter,  by  whom  he 
was  instructed  in  drawing.  He  became  a  student 
of  the  Royal  Academy,  and  gained  the  gold  medal 
in  1788 ;  the  subject  being  '  Alexander's  Feast.' 
On  that  occasion  he  was  highly  praised  by  Reynolds. 
For  more  than  fifty  years  he  was  a  constant  ex- 
hibitor at  the  Royal  Academy,  but  never  arrived 
at  membership.  His  pictures  are  numerous,  but 
seldom  exhibit  much  ability.  "  Propose  a  subject 
to  Singleton,"  said  West,  "  and  it  will  be  on  canvas 
in  five  or  six  hours."  As  might  have  been  expected, 
work  that  cost  so  little  was  destined  to  a  short 
existence.  Some  of  his  drawings  for  books  were 
popular,  as  well  as  some  sentimental  scenes  on  a 
larger  scale.  Among  his  best  works  were  '  Christ 
entering  Jerusalem,'  '  Christ  healing  the  Blind,' 
'  Coriolanus  and  his  Mother,'  '  Hannibal  swearing 
Enmity  to  the  Romans,' '  Storming  of  Seringapatam,' 
'  Death  of  Tippoo  Sahib,'  and '  Surrender  of  Tippoo's 
Sons  as  Hostages  '  ;  all  of  which  were  engraved  in 
mezzotint,  and  were  popular  for  a  time.     Two  pic- 


PAINTERS  AND  ENGRAVERS. 


tures  of  liis  belonging  to  tlie  National  Gallery  have 
been  deposited  in  the  galleries  of  Leicester  and 
Coventry  respectively.  He  painted  also  a  series  of 
small  pictures  from  Shakespeare.  They  show  more 
imagination  and  better  colour  than  his  larger  works. 
He  occasionally  painted  portraits.  Singleton  died 
in  London  in  1839.  His  sister,  Sarah  Singleton, 
exhibited  miniatures  at  the  Academy  from  1790  to 
1820.  Other  miniature  painters  of  the  same  name, 
who  exhibited  about  the  same  time,  were  probably 
his  relatives. 

SINIBALDL     See  Ibi. 

SINJEUR,  GoVERT,  a  painter  of  Rotterdam,  who 
painted  in  the  manner  of  Philips  Wouwerman,  in 
the  17th  century. 

SINT-JANS,  Geerit  van.     See  Haarlem. 

SINTRAMME,  — ,  one  of  the  earliest  of  the 
miniaturists.  He  was  a  monk  of  St.  Gall,  and 
practised  in  the  beginning  of  the  10th  century. 

SINTZENICH,  Heinrioh,  (Sinzenich,)  an  en- 
graver in  the  chalk  and  dotted  manner,  and  in 
mezzotint,  was  born  at  Mannheim  in  1752.  After  re- 
ceiving some  elementary  instruction  in  the  academy 
of  that  city,  he  was  sent  to  England  at  the  expense 
of  the  Elector  to  complete  his  studies  under  Bar- 
tolozzi,  with  whom  he  remained  about  four  years. 
On  his  return  to  his  own  country  he  was  appointed 
engraver  to  the  court,  and  engraved  many  plates 
in  the  English  styles.  He  was  a  member  of  the 
Academies  of  Munich  and  Berlin.  He  died  at 
Munich  in  1812.  Nagler  has  described  fifty-four  of 
his  principal  plates.     The  best  are  : 

Portrait  of  Rafael  Mengs  ;  after  Umself. 
Cassandra  ;  after  Hickel. 

SINTZENICH,  PiETER,  (Sinzenich,)  engraver, 
brother  of  Heinrioh  Sintzenich,  was  in  London  in 
1789.  He  engraved  'The  Truce  between  the 
Romans  and  Sabines,'  after  Raphael. 

SIPMANN,  Gerhard,  (Sifpmann,)  painter,  born 
at  Diisseldorf  in  1790,  was  trained  at  the  Diissel- 
dorf  Academy  and  at  Munich,  under  Langer  and 
Cornelius.  He  painted  at  first  portraits  and  his- 
torical scenes  in  oil,  but  was  afterwards  employed 
on  arabesques  for  Cornelius,  in  the  Glyptothek. 
From  1823  onwards  he  occasionally  painted  land- 
scapes.    He  died  at  Munich  in  1860. 

SIRANI,  Elisabetta,  the  eldest  daughter  of 
Giovanni  Andrea  Sirani,  born  at  Bologna  in  1638, 
was  instructed  in  art  by  her  father.  Her  first 
public  commission  appears  to  have  been  won  in 
1655,  when  she  was  seventeen  years  of  age.  She 
was  a  clever  imitator  of  Guido,  and  was  already 
famous,  when  she  was  poisoned  by  her  servant 
in  1665.  In  spite  of  her  early  death,  she  left 
upwards  of  a  hundred  and  fifty  pictures.  We  may 
name ; 


Bologna 


Certosa. 
Pinacoteca. 


Munich.        Finakothek. 


Baptism  of  Christ. 

The  Infant  Christ,  with  S. 
Anthony  of  Padua  in  Adora- 
tion.    And  eight  others. 

An  Allegory. 


Also  pictures  in  the  Palazzi  Zampieri,  Caprara, 
Zambeccari  at  Bologna  ;  and  the  Palazzi  Corsini 
and  Bolognetta  at  Rome.  She  also  produced  a  few 
good  etchings  ;  among  them  the  following  : 

The  Virgin  in  the  Clouds  holding  a  Rosary,  with  the 
infant  Jesus  ;  from  her  oum  desitfn. 

The  Virgin  weeping,  surroimded  by  Angels,  and  con- 
templating the  emblems  of  Christ's  Passion  ;  Elisa- 
betta Sirani ,  F.     1657. 

The  Holy  Family  ;  after  Raphael;  Elisabetha  Sirani,  sic 
incisum  exposuit. 


The  Mother  of  God  ;  after  the  same. 

at.  Eustacius  kneeUug   before   a  Crucifix;   Elisabetha 

Sirani,  f.     1656. 
The  Decollation  of  St.  John  ;  Elbta.  Sirani,  f.  1657. 

SIRANI,  Giovanni  Andrea,  bom  at  Bologna  in 
1610,  was  one  of  the  favourite  disciples  of  Guido 
Reni.  After  the  death  of  his  master  he  was 
employed  to  finish  several  of  his  works  in  the 
churches  at  Bologna,  particularly  the  large  picture 
of  S.  Brunone,  at  the  Certosini.  His  first  produc- 
tions resemble  the  second  style  of  Guido.  He 
afterwards  adopted  a  more  violent  system  of  light 
and  shadow,  approaching  that  of  Michelangelo  da 
Caravaggio.     He  died  in  1670.     Works  : 

Bologna.  S.  Martina.  The  Crucifixion. 

„  Certosa.     Tlie    Feast   at    the    House   of 

Simon  the  Pharisee. 
„  6".  Giorgio,     Marriage  of  the  Virgin. 

„  Pinacoteca.     Presentation  in  the  Temple, 

He  etched  a  few  original  plates,  which  he  usually 
marked  with  the  initials  G.  A.  S.  or  I.  A.  S. ;  among 
them  we  may  name  : 

Apollo  and  Marsyas  ;  oval. 

Death  of  Lucretia. 

SIRCEDS,  Philippe.    See  Soye,  Philippe. 

SIRIES,  Violante  Beatrix,  born  at  Florence  in 
1710,  was  taught  pastel  and  water-colour  by 
Giovanna  Fratellini.  She  afterwards  went  to 
Paris,  where  she  studied  under  Boucher  and 
Kigaud.  Her  talent  was  chiefly  shown  in  portraits, 
though  she  occasionally  attempted  historical  sub- 
jects, as  well  as  flowers  and  fruit.  On  her  return 
to  Florence  from  France,  she  was  employed  to 
paint  a  large  group  of  the  Grand-Ducal  Family. 
Her  own  portrait  is  in  the  Dffizi.  She  died  about 
1770. 

SISLEY,  Alfred,  landscape  painter,  the  son  of 
English  parents,  was  born  in  Paris  on  October  30, 
1840.  He  was  a  pupil  of  Gleyre,  and  at  first 
worked  under  the  influence  of  Corot  and  Courbet, 
painting  con  ventional  pictures  in  greys  and  browns. 
His  first  exhibit  was  at  the  Salon  of  1866,  his 
picture  being  entitled  '  Femmes  allant  au  Bois,' 
and  he  continued  to  show  his  work  there  till  1870. 
Shortly  after  this  time  his  friendship  with  Renoir 
and  Manet  caused  an  entire  change  in  his  style. 
He  studied  earnestly  the  sparkle  of  light  in  land- 
scape, and  was  in  the  vanguard  of  the  Impressionist 
Movement  in  France.  With  Degas,  Monet,  Pisarro, 
C&anne,  and  others,  he  joined  in  the  now  historic 
Exhibition  of  1874  at  Nadar's  Galleries  in  Paris. 
He  lived  at  Moret-sur-Loing,  and  painted  chiefly 
in  the  country  round  Paris,  though  he  paid  frequent 
visits  to  England,  working  for  a  considerable  time 
at  Hampton  Court  and  elsewhere  on  the  Thames. 
Among  his  more  important  pictures  are  :  '  Bordsdu 
Loing,  prfes  Moret,'  '  Route  de  Louveciennes,'  '  La 
Seine  h.  Saint-Mammes,'  '  Lisifere  de  la  Foret  de 
Fontainebleau,'  '  Le  Pont  de  Moret-sur-Loing,'  and 
'  L'^^glise  de  Moret-sur-Loing.'  His  '  River  Bank,' 
a  coloured  lithograph,  was  shown  at  the  Exhibition 
of  the  International  Society  in  London  in  1898  ; 
and  in  the  following  year,  after  his  death,  his 
'  Foret  de  Fontainebleau '  and  '  La  Plaine  de 
Champagne.'  Some  studies  by  Sisley  are  in  the 
Caillebotte  Bequest  at  the  Luxembourg.  His  life 
was  somewhat  embittered  by  want  of  public 
appreciation,  and  he  died  on  January  29,  1899, 
at  Moret-sur-Loing.  M.H. 

SISSON,  — ,  an  Irish  portrait  painter  of  the  18th 
century.  Burke  speaks  of  having  had  his  portrait 
painted  by  him  in  miniature. 

87 


A  BIOGRAPHICAL  DICTIONARY  OF 


SIXDENIERS,  Alexandbe  Vincent,  engraver, 
bom  in  Paris  in  1795,  worked  under  Villerey.  He 
won  a  considerable  reputation,  and  was  more  than 
once  premiated  at  the  Salon.  He  worked  first  in 
line,  afterwards  in  mezzotint.  He  was  drowned  in 
the  Seine,  in  Paris,  in  1846.     Plates  : 

Endymion ;  after  Girodet. 

Charlotte  Corday  ;  after  Scheffer, 

The  Village  Bride  ;  after  Greuze. 

Posting  iu  the  Desert ;  after  Vemet. 

Arab  praying ;  after  the  same. 

Edward  I.  in  Scotland ;  after  Delaroche. 

Napoleon  and  the  King  of  Kome  ;  after  Steuben. 

SJOLLEMA,  Thierhy  Piebes,  a  Dutch  painter  of 
landscapes  and  sea-pieces,  born  at  Terbantsterchans 
in  1760.  His  works  are  almost  entirely  confined  to 
Friesland.  There  are  two  pictures  by  him  in  the 
museum  at  Leeuwarden.  He  died  at  Heerenwal  in 
1840. 

SKELTON,  Joseph,  engraver,  flourished  early 
in  the  19th  century.  He  was  a  younger  brother 
of  William  Skelton,  and  studied  in  London.  He 
afterwards  went  to  Paris,  and  worked  from  the 
pictures  at  Versailles.  His  latest  plates  are  dated 
1850.     Among  the  works  he  illustrated  are  : 

'  The  Antiquities  of  Bristol.' 

'  Cautabrigia  Depicta.'     1809. 

'Oxonia  Antiqua  Eestaurata.'     1823. 

*  Antiquities  of  Oxfordshire.'     1823. 

'Pietas  Oxoniensis.'     1828. 

'  Meyrick's  Arms  and  Armour.'    1830. 

SKELTON,  Vt^lLLlAM,  engraver,  was  born  in 
London  in  1763.  He  belonged  to  a  Yorkshire 
branch  of  the  Cumberland  Skeltons.  He  was  some 
time  pupil  of  James  Basire  and  of  William  Sharp. 
When  he  first  set  up  for  himself,  his  patrons  were 
Sir  Richard  Worsley  and  Charles  Townley ;  then 
Boydell  and  Macklin  ;  and  still  later,  the  Dilettanti 
Society,  for  whom  some  of  his  best  engravings 
were  produced.  At  the  close  of  his  career  he  pub- 
lished a  series  of  royal  portraits,  from  the  time  of 
George  HI.  down  to  the  accession  of  Victoria, 
which  was  commercially  successful,  and  enabled 
him  to  perform  many  acts  of  charity.  Skelton 
died  in  Upper  Ebury  Street  in  1848. 

SKILL,  F.  J.,  a  landscape  painter  who  is  be- 
lieved to  have  been  born  about  1824.  He  was 
a  member  of  the  lustitute  of  Painters  in  Water- 
Colour,  and  spent  some  years  at  Venice,  where  h& 
executed  some  of  liis  most  charming  sketches.  He 
exhibited  frequently  in  Paris,  but,  although  living 
in  England,  was  comparatively  little  known  in  art 
circles  of  his  day.  He  died,  March  8,  1881,  of  a 
broken  heart,  having  failed  to  attract  public  atten- 
tion.   Two  of  his  best  works  are  at  S.  Kensington. 

SKILLMAN,  William,  an  English  engraver, 
who  flourished  about  the  year  1666.  Among  other 
plates  he  engraved  a  view  of  Albemarle  House, 
and  another  of  the  Banqueting  House,  Whitehall. 

SKIPPE,  John,  a  native  of  Ledbury,  was  a 
gentleman  of  education,  and  an  amateur  artist. 
He  was  a  Gentleman  Commoner  of  Merton  College, 
Oxford,  and  studied  landscape  painting  under 
Claude  Vernet.  Inspired  by  a  print  of  Ugo  da  Carpi, 
after  Raphael's  cartoon  of  the  '  Miraculous  Draught 
of  Fishes,'  he  engraved  in  chiaroscuro  a  number  of 
subjects,  chiefly  after  the  designs  of  Parmigiano, 
Correggio,  Raphael,  and  other  masters  of  the 
Italian  School,  which  he  published  from  about  the 
year  1770  to  1812.  It  is  supposed  that  he  was  a 
pupil  of  John  Baptist  Jackson.  The  dates  of  his 
birth  and  death  are  unknown. 

88 


SKIRVING,  Archibald,  painter,  was  bom  at 
Haddington  in  1749.  He  studied  for  some  time  in 
Rome,  and  towards  the  close  of  the  18th  century 
practised  in  London,  working  principally  as  a 
portraitist  in  chalk  and  crayon,  and  also  painting 
miniatures  in  water-colours.  At  the  beginning  of 
the  19th  century  he  was  established  in  Edinburgh, 
where  he  became  well  known  both  by  the  excel- 
lence of  his  art  and  the  humorous  eccentricity  of 
his  character.  He  died  in  1819.  The  portraits  of 
Professor  Dugald  Stewart  and  William  Berry  in 
the  National  Portrait  Gallery  (Scotland)  are  by 
him,  also  a  portrait  in  the  Scottish  National  Gallery. 
Andrew  Geddes  etched  Skirving's  portrait. 

SKJOLDEBRAND,  a  Swedish  painter,  who  went 
in  1799  with  Acerbi  to  the  North  Cape,  and  on  his 
return  published  a  work  on  his  travels.  In  1804 
he  also  published  a  volume  of  views  of  the  Troll- 
hatta  Falls.     He  died  in  1835. 

SKOOVGAARD,  Peter  Kristian,  a  Danish 
landscape  painter,  was  born  at  Hammerhus,  near 
Ringsted,  in  1817.  He  received  his  first  teaching 
from  his  mother,  and  then  at  the  age  of  fifteen 
entered  the  Copenhagen  Academy.  His  first  work, 
a  Moonlight  Landscape,  was  purchased  in  1836 
by  Chrisrian  VIII.  He  afterwards  travelled  to  Rome 
and  Naples,  studied  Titian  and  Claude,  but  con- 
tinued faithful  to  Danish  scenery  for  his  subjects. 
In  1864  he  became  a  member  of  the  Academy  at 
Copenhagen,  where  he  died  in  1876. 

SLABBAERT,  Kabel,  (SLABBARD,)  a  Dutch 
genre  painter,  flourished  in  the  17th  century.  It 
is  supposed  that  he  studied  under  Gerard  Dou. 
His  pictures  are  not  common ;  there  is  one  in  the 
Museum  at  Amsterdam^  an  interior  with  a  woman 
cutting  bread,  and  two  children  praying.  In  1645 
he  was  living  in  Amsterdam,  but  he  is  supposed  to 
have  been  a  native  of  Middelberg,  where  he  was 
buried  in  November,  1654. 

SLANGENBURGH,  Karel  Jakob  Baar  van,  an 
obscure  painter  of  portraits  and  interiors,  was  bom 
at  Leeuwarden  in  1783.     He  died  about  1850. 

SLANGENSCHILDER.     See  Vromans. 

SLATER,  Joseph,  an  English  decorative  and 
landscape  painter,  practised  early  in  the  18th 
century.  He  was  engaged  on  decorative  work  at 
Mereworth  Castle  and  at  Stowe. 

SLATER,  J.  W.,  a  miniature  painter  of  some 
merit,  who  settled  early  in  life  in  Ireland,  and 
practised  with  success  in  Dublin  in  the  second  half 
of  the  18th  century.  He  subsequently  returned  to 
England,  and  exhibited  at  the  Academy  in  1786 
and  1787. 

SLATER,  T.,  an  English  engraver  who  flourished 
about  the  year  1630.  He  engraved,  among  others, 
a  portrait  of  George  Webbe,  Bishop  of  Limerick. 

SLAUGHTER,  Stephen,  portrait  painter,  was 
practising  in  Ireland  between  1730  and  1740.  He 
after^vards  became  keeper  of  the  king's  pictures, 
and  lived  towards  the  close  of  his  life  at  Ken- 
sington, where  he  died  in  1765.  In  the  National 
Portrait  Gallery  there  is  a  '  Sir  Hans  Sloane '  by 
him,  and  at  Blenheim  Palace,  portraits  of  the  Hon. 
J.  and  Lady  G.  Spencer.  His  sister  was  also  an 
artist. 

SLEAP,  Joseph  Axe,  water-colour  painter,  was 
born  in  London,  May  30,  1808.  He  was  an  artist 
of  much  ability,  but  his  life  was  embittered  by  a 
perpetual  struggle  against  poverty,  which  crippled 
his  powers.  He  was  beginning  to  win  his  way  to 
fame  and  recognition,  when  lie  died  at  the  age  of 
fifty-one,  October  16,  1859.     His  '  St.  Paul's,  from 


PAINTERS   AND   ENGRAVERS. 


Paul's  Wharf,'  in  the  Glasgow  Gallery,  is  a  good 
example  of  his  work.  There  is  also  at  South  Ken- 
sington a  view  of  Lago  Maggiore  by  him.  His 
works  are  little  known,  as  he  never  contributed  to 
the  principal  London  Exliibitions. 

SLEMPOP.     See  Virschen,  Theodob. 

SLINGELANDT,  Pieteb  Cornelisz  van,  born 
at  Leyden  in  1640,  was  a  pupil  of  Gerard  Dou. 
He  followed  the  style  of  bis  master,  and  as  far 
as  patience  and  polish  are  concerned,  he  may  be 
said  to  have  equalled,  if  not  surpassed,  his  in- 
structor ;  but  in  character,  chiaro-scuro,  and  design, 
he  is  far  inferior.  Houbraken  declares  that  he  was 
occupied  three  whole  years  on  the  family  por- 
trait of  the  Meermans,  and  that  he  was  employed 
a  month  in  finishing  a  rufE  He  died  in  1691.  His 
chief  works  are  : 

Amsterdam.  Museum.  Yiolin  Player.    Sigped  P. 

V.  ^Slinyerland  fecit, 

Dresden.  Gallery.  The  Music  Lesson. 

„  „  A  Singing  Woman. 

Glasgow.  Gallery.  The  Doctor's  Visit. 

„  ,,  A  Musical  Party. 

London .  Bridgewaier  Souse.  Cooks  with  Partridges. 

Munich.  Pinakoihek.  A  Tailor's  Shop. 

„  „  A  "Woman  at  a  Window. 

Paris.  Louvre.  The  Meerman  Family. 

Petersburg.  Hermitaye.  A  Family  Group, 

SLINGENEIJER,  Ernest,  Belgian  painter; 
bom  May  23,  1823,  at  Loochristy,  near  Ghent; 
became  a  pupil  of  J.  Wappers.  He  painted 
historical  subjects,  including  a  cycle  of  twelve 
notorious  events  in  Belgian  history,  which  are  at 
the  Academy  of  Brussels.  He  painted  the  'Bataille 
de  Lepanto,'  now  in  the  Brussels  Museum ;  also 
many  Italian  genre  pieces  ;  was  a  member  of  the 
Brussels  Academy,  a  Conunander  of  the  Leopold 
Order,  &c.     He  died  at  Brusst-ls,  April  27,  1894. 

SLOANE,  Michael,  engraver,  a  pupil  of  Bar- 
tolozzi,  who  practised  up  to  the  beginning  of  the 
19th  century,  and  engraved  the  '  Notte,'  after  Cor- 
reggio,  'The  Christening,'  after  Wheatley,  and 
other  works. 

SLOCOMBE,  C.  p.,  held  important  office  as  art 
teacher  in  the  South  Kensington  Science  and  Art 
Department  from  its  early  days  at  Somerset  House, 
and  was  connected  with  it  for  many  years.  He 
devoted  himself  to  etching,  and  his  work  became 
well  known  and  esteemed.  In  this  medium  he 
reproduced  successfully  many  of  the  works  of 
J.  Pettie,  R.A.,  and  Frank  HoU,  R.A.,  and  also 
etched  after  Rembrandt  and  the  old  masters.  His 
original  etchings  are  landscapes,  frequently  wood- 
land scenes.  For  the  last  fourteen  years  of  his  life 
he  was  laid  aside  by  paralysis.  He  died  in  1895, 
at  the  age  of  sixty-three.  J.  H.  W.  L. 

SLUYTER,  P.,  a  Dutch  engraver,  who  flourished 
about  the  year  1700.  He  was  principally  employed 
in  engraving  frontispieces  and  other  book  orna- 
ments for  the  publications  of  Peter  Van  der  Aa. 

SMAK-GREGOOR,  Gillis,  painter  of  landscapes 
and  animals,  was  born  at  Dordrecht  in  1770.  He 
was  the  nephew  and  pupil  of  the  Van  Sfjys,  and 
also  studied  under  Versteeg  and  Van  Le^n.  He 
died  in  1843. 

SMALL  WOOD,  William  Frome,  architectural 
draughtsman,  born  1806,  was  the  son  of  a  hotel- 
keeper  in  Covent  Garden.  He  was  a  pupil  of  Cot- 
tinghara,  and  exhibited  a  number  of  sketches  at 
the  Royal  Academy  and  at  Suffolk  Street  from 
1826  to  1834.  Many  of  his  drawings  were  repro- 
duced in  the  'Penny  Magazine.'  He  died  in 
1834. 


SMARGIASSO.  See  Ciafferi. 
SMART,  John,  was  born  at  Leith  in  1838,  and 
educated  there.  He  was  apprenticed  to  his  father, 
an  engraver  and  Hthographer,  and  studied  in  the 
School  of  the  Board  of  Manufactures,  and  then 
under  Horatio  McCuUoch,  R.S.A.  In  1860  he  ex- 
hibited for  the  first  time  at  the  Royal  Scottish 
Academy,  '  Peeps  thro'  the  Trees,'  and  constantly 
exhibited  afterwards.  He  early  gained  popularity, 
and  in  1871  was  elected  an  Associate,  and  in  1877 
an  Academician,  of  the  Royal  Scottish  Academy. 
He  devoted  himself  to  landscape,  and  particularly 
delighted  in  rendering  the  moors  and  lochs  and 
mountains  of  the  Highlands  of  Scotland.  He  also 
painted  in  Wales  and  the  Lowlands.  He  painted 
much  in  the  open  air,  and  his  work  is  fresh  and 
sincere,  charming  in  colour  and  choice  of  subject. 
The  tender  pathos  of  his  homely  genre  pictures 
made  them  very  popular.  He  exhibited  regularly 
at  the  Glasgow  Institute  and  the  Royal  Academy, 
and  in  1889  a  Highland  landscape  was  favourably 
received  at  the  Salon.  He  was  an  original  member 
of  the  Royal  Scottish  Society  of  Painters  in  Water- 
Colour.  In  that  medium  he  painted  a  series  of 
the  golfing  greens  of  Scotland.  Among  his  best 
pictures  are,  'The  Graves  of  oor  ain  Folk '  (1874), 
'The  Gloom  of  Glen  Ogle'  (1880),  'The  Land 
of  the  MacGregor,'  'Where  Silence  Reigns,'  'A 
Dream  of  Strathearn,'  and  '  Far  from  the  Busy 
World  '  (diploma  picture  in  the  Scottish  National 
Gallery).     He  died  in  1899.  J.  H.  W;  L. 

SMART,  John,  the  most  important  of  the 
miniature  painters  of  the  eighteenth  century.  He 
was  born  about  1741,  at  a  small  village  near 
Norwich.  He  was  educated  at  the  St.  Martin's 
Lane  Academy,  and  then  he  became  a  pupil  of 
Daniel  Dodd.  He  exhibited  first  with  the  Incor- 
porated Society  of  Artists,  and  later  on  became  a 
Director  and  Vice-President  of  that  Society.  He 
appears  to  have  been  a  great  friend  of  Richard 
Cosway,  and  for  a  while  his  connection  with  that 
artist  must  have  been  somewhat  in  tlie  relationship 
of  master  and  pupil,  inasmuch  as  Cosway  in  his 
letters  refers  to  some  tuition  which  he  gave  to 
Smart.  The  fact  is  a  rather  curious  one,  as  there 
is  no  artist  of  that  period  who  would  appear  to 
have  had  so  little  connection  with  Cosway  as  does 
Smart.  His  work  has  none  of  the  flippancy  of 
Cosway,  but  is  much  more  serious  in  quality  and 
subdued  in  colouring,  while  certainly  no  other 
artist  gave  such  careful  attention  to  representing 
the  face.  His  knowledge  of  the  anatomy  of  the 
human  face  must  have  been  quite  extraordinary, 
so  perfectly  are  the  muscles  and  bones  represented 
in  his  work.  His  colouring  as  a  rule  is  cool  and 
grey,  although  in  the  faces  he  can  be  detected  by 
the  use  of  a  tint  somewhat  too  much  resembling 
the  colour  of  brick-dust  to  be  perfectly  illustrative 
of  flesh.  He  married  Edith  Vere,  and  resided  at  4, 
Russell  Place,  Fitzroy  Square.  He  had  one  son, 
John  Smart,  and  it  is  possible  that  he  had  a 
daughter  also,  whose  married  name  was  Dighton. 
Smart  went  to  India  in  1788,  and  remained  in  that 
country  for  five  years.  His  son,  John  Smart, 
junior,  accompanied  him,  and  died  at  Madras  in 
1809.  The  father  returned  to  England  after  five 
years' sojourn  abroad,  settled  down  in  London,  and 
died  in  1811.  He  was  famous  for  his  pencil  draw- 
ings, and  appears  to  have  sketched  each  portrait 
in  pencil  before  he  painted  the  miniature.  A 
large  number  of  these  pencil  portraits,  together 
with  several  of  his  sketch-books,  came,  after  his 

89 


A   BIOGRAPHICAL  DICTIONARY  OF 


death,  to  Miss  Smart,  who  appears  to  have  been 
his  only  sister,  and  she  bequeathed  them  to  lier 
great  friend  Mary  Smirke,  the  daughter  of  Robert 
Sinirke  the  architect,  and  in  this  way  it  happens 
tliat  in  the  possession  of  two  descendants  of  the 
Smirke  family  there  is  quite  a  large  collection  of 
pencil  drawint;8  by  this  artist.  Two  fine  drawings 
executed  by  him  in  India,  and  representing  the 
two  sons  of  Tippoo  Sahib,  are  in  the  British 
Museum.  Smart  was  a  man  of  short  stature,  and 
is  generally  alluded  to  as  "  little  John  Smart.'' 
He  would  appear  to  have  been  a  man  of  very  high 
personal  character,  as  Cosway  refers  to  him  as 
"honest  John  Smart,"  "good  little  John,"  and 
"faithful  John."  He  was  a  member  of  the  little- 
known  religious  sect  called  the  Glassites  or 
Sandemanians,  a  form  of  faith  which  will  be 
notable  from  the  fact  that  Michael  Faraday  was 
a  devoted  adherent  of  it.  Smart  was  a  man  of 
very  simple  habits,  spending  nothing  upon  his 
clothes,  and  very  little  upon  his  food.  There  are 
two  distinct  periods  in  his  arts,  the  early  works, 
done  about  1770,  being  far  more  exquisite  in  their 
effect  than  were  the  later  works.  His  earlier 
portraits  were  as  a  rule  of  very  small  size,  and 
closely  resembling  enamel.  They  are  remarkable 
for  the  extreme  minuteness  of  their  execution. 
His  latter  works,  painted  in  India,  can  be  known 
by  the  addition  of  a  capital  "I"  marked  under- 
neath his  signature,  and  these  miniatures  and  the 
portraits  he  executed  when  he  returned  to  London 
are  almost  perfect  examples  of  what  miniature 
painting  should  be.  They  are  distinguished  by  a 
reserve  of  strength,  a  greatness  of  power,  and  a 
subtlety  of  colouring,  which  mark  out  their  creator 
as  a  man  of  exalted  genius.  Smart  was  on  friendly 
terms  with  the  artist  Toussaint,  and  many  of  his 
miniatures  are  to  be  found  in  beautiful  gold  or 
steel  frames,  designed  and  made  by  this  clever 
jeweller.  There  are  many  fine  examples  of  his 
miniature  work  in  the  collections  of  Mr.  E.  M. 
Hodgkins,  Mr.  J.  Pierpoint  Morgan,  Sir  Spencer 
Walpole,  Mr.  George  Salting,  Lord  Hothfield,  Earl 
Beaucharap,  and  the  Duke  of  Richmond  and 
Gordon,  and  one  example  can  be  seen  in  the 
Wallace  Collection.  Of  his  earliest  enamel-like 
portraits  the  finest  example  is  the  portrait  of  Ann 
Brograve  belonging  to  Miss  Ffoulkes.  Of  the 
work  of  John  Smart,  junior,  the  most  notable 
example  belongs  to  Mr.  Gerald  Ponsonby. 

SMART,  Samuel  Paul,  a  painter  of  miniature 
portraits,  practising  in  London.  He  exliibited  at 
the  Academy  from  1769  to  1787. 

SMEES,  Jan,  a  Dutch  landscape  painter  and 
engraver,  who  flourished  in  the  first  quarter  of  the 
18th  century,  and  is  supposed  to  have  died  in 
1729.  To  judge  of  him  by  his  five  known  etchings, 
he  must  have  painted  in  the  manner  of  Jan  Both. 
These  etchings  consist  of  landscapes  enriched  with 
figures,  animals,  buildings,  and  ruins ;  and  are 
signed  J.  Smees  in.  et  fecit. 

SMETHAM,  James.  This  artist  is  better  known 
by  his  writings  than  his  paintings.  His  essays  on 
Reynolds  and  on  Blake,  and  his  letters,  are 
admirable  examples  of  bright  composition  and 
clear  statement.  He  was  the  son  of  a  Wesleyan 
minister,  bom  in  1821,  and  was  educated  at  a 
Wesleyan  school,  becoming  a  drawing  master  at 
the  Normal  college.  He  had  little  sympathy  with 
his  own  literary  work,  and  the  greatest  love  for 
art,  and  a  firm  belief  in  his  own  ability  in  that 
direction,  but  he  never  was  successful  in  claiming 

90 


public  attention.  Hie  pictures  were  rejected  over 
and  over  again,  and  his  illustrations  were  returned 
on  his  hands.  Up  to  a  certain  point  his  work  had 
excellence,  but  it  never  became  really  great, 
although  his  early  admirers,  amongst  whom  were 
Ruskin,  Rossetti,  and  Ford  Madox  Brown, 
prophesied  great  things  about  him.  It  appeared 
at  one  time  as  though  he  would  join  the  pre- 
Raphaelite  Brotherhood,  and  become  as  eminent 
as  any  of  them,  but  his  work  was  too  poetic, 
and  his  drawing  was  never  quite  satisfactory. 
Many  of  his  best  pictures  passed  into  the 
possession  of  Mr.  J.  S.  Budgett  of  Stoke  Park, 
Guildford,  who  was  always  a  warm  admirer  of  his 
genius,  and  who  assisted  him  from  time  to  time 
with  considerable  generosity.  He  was,  however, 
a  disappointed  and  dejected  man,  who  struggled 
all  his  life  against  opposition.  For  the  last  ten 
years  of  his  life  he  was  a  complete  invalid,  all  his 
physical  and  mental  force  having  broken  down 
from  the  unceasing  strain  of  his  earlier  career. 
After  his  death  in  1889  his  literary  work  became 
better  known,  and  the  credit  the  world  refused 
him  during  his  life  was  quite  freely  given  to  his 
work  after  his  decease.  A  sketchy  and  incomplete 
memoir  of  him  appeared  in  1891,  written  by  a 
Mr.  William  Davies,  and  affixed  to  an  addition  of 
bis  letters.     He  exhibited  at  the  Royal  Academy : 

Christ  at  Emmaus.     1851. 

Bird-catchers.     1852. 

The  Flageolet.     1853. 

Two  Portraits.     1854. 

Counting  the  Cost.     1855. 

Robert  Levett.     1862. 

The  Moorlaud  Edge.     1863. 

The  Hymn  of  the  Last  Supper.     1869. 

In  the  possession  of  Mr.  Budgett  are,  'The 
Hymn  of  the  Last  Supper,'  '  The  Women  at  the 
Crucifixion'  (1857),  'Sad  Hesper'  (1871),  illus- 
trating Tennyson's  words  in  '  In  Memoriam,'  canto 
cxxi.  ;  'The  First  Passover,'  'All  in  the  Wild 
March  Morning,'  '  The  Gossips,'  &c.  Lady  Mount 
Temple  purchased  the  study  for  'The  Hymn  of 
the  Last  Supper';  'The  Dream  of  Pilate's  Wife' 
belongs  to  Mr.  J.  F.  Hall,  and  other  pictures  in 
private  hands  are,  'The  Lady  of  Shalott'  (1852), 
and  'Prospero  and  Miranda'  (1871).  Messrs. 
Shepherd  Brothers  own  'The  Death  of  Earl 
Siward  '  and  'The  Enchanted  Princess.'  Smetham 
executed  many  remarkable  etchings,  the  best  of 
which  were  published  in  book  form  as  an  '  Artist's 
Sketch  Book.'  He  was  a  warm  friend  of  Bell 
Scott,  and  it  was  due  to  his  encouragement  that 
Smetham  took  up  with  etching  and  carried  out 
some  domestic  decorating  work.  Ruskin,  greatly 
admiring  the  genius  of  the  man,  purchased  many 
of  his  sketches  and  carried  on  a  very  interesting 
correspondence  with  him. 

SMETS,  Christian,  a  Flemish  painter  of  the 
16th  century,  a  native  of  Mechlin.  He  came  to 
France  in  1550,  and  entered  the  service  of  Henri 
d'Albret,  grandfather  of  Henry  IV. 

SMEYERS,  GiLLis,  (or  iEoiDius,)  the  elder,  bom 
at  MechUn  in  1635,  was  the  son  (?)  and  pupil  of 
Nicolas  Smeyers.  He  also  studied  under  J.  Ver- 
hoeven.  He  married  Elizabeth  Herregouts,  daugh- 
ter of  the  painter,  David  Herregouts,  and  had  by 
her  three  sons,  Jakob  {q.v.),  Jan,  and  Justin.  They 
all  became  painters,  and  were  members  of  the 
Guild  of  St.  Luke  at  Mechlin,  but  only  Jakob  has 
left  any  trace  in  the  history  of  art.  In  1657 
Gillis  Smeyers  was  made  free  of  the  Guild  of  S. 


PAINTERS  AND  ENGRAVERS. 


Luke,  and  in  1682  he  was  acting  as  treasurer  for 
the  society.     He   was   the   close  friend  of  Lucas 
Franchoys  II.,  and  finished  an  '  Assumption  '  begun 
by  the  latter.     Smeyers  died  in  1710.     Works  : 
Brussels.  Museum.    St.  Norbert  consecrating   two 

Deacons. 
„  „  Death  of  St.  Norbert. 

Mechlin.  Museum.     The  Deans  of  the  Tailors' Guild 

at  Mechlin,  1695. 
„    Church  of  S.  John.     The     Benefits     of    the     Holy 

Trinity. 
„  Seminary.    The  Kesurrection  of  Lazarus. 

And  other  works  at  Mechlin. 

SMEYERS,  GiLLis,  (or  .SIgidids,)  the  younger, 
painter,  was  the  son  of  Jakob  Smeyers,  and  was 
bom  at  Mechlin  in  1694.  His  father  wished  him 
to  become  a  painter,  but  the  young  man  himself 
showed  a  preference  for  historical  studies.  At  the 
age  of  twenty-one,  however,  he  decided  for  art  as 
a  profession,  and  started  for  Diisseldorf,  under  the 
protection  of  the  Baron  de  Loe.  Here  he  studied 
for  three  years  under  the  painter  Douven,  of 
Euremonde,  but  was  recalled  to  Mechlin  by  the 
necessities  of  his  parents,  who  had  both  become 
blind.  He  maintained  them  in  their  infirmity, 
working  as  a  decorative  painter  when  other  com^ 
missions  failed,  and  began  also  to  utilize  his 
early  literary  studies,  by  writing  articles  for  the 
'  Bibliotheca  Belgica,'  and  for  Descamps'  '  Lives 
of  Painters.'  He  was  the  author  of  a  supple- 
ment to  Van  Mander's  '  Lives  of  Painters,'  com- 
piled a  complete  inventory  of  works  of  art  at 
Mechlin,  with  notices  of  Mechlin  artists,  and 
wrote  a  Life  of  Rubens,  the  MS.  of  which  he  sold 
in  his  old  age.  His  talents  and  industry,  how- 
ever, failed  to  secure  him  against  poverty,  for 
towards  the  close  of  his  life,  when  attacked  by 
disease,  he  was  obliged  to  sell  his  library  to  gain 
admittance  into  the  hospital  at  Mechlin,  where  he 
died  in  1774.  The  following  of  his  works  are  to 
be  found  at  and  near  Mechlin  : 

Portrait  of  the  Chanoine  de  Laet.     (Grand  Seminary.) 
Fall  of  the  Angels. 

History  of  S.  Dominic.     {Church  of  S.  Eombaut.) 
Pentecost.     (Convent  of  the  Black  N'uns.) 
Allegorical   Groups.     (Convent  of  the  Sceurs  Ifaricolles.) 
Portrait  of  Cardinal  d' Alsace  de  Boussu.     {Museum.) 
The  Deans  of  the  Tailors'  Guild  in  1735.     (Museum.) 
Episode  in  the  History  of  the  Dominicans.     (Museum^ 
Portraits  of  Children.     {Notre  Dame,  Hansioyck.) 
Several  Pictures.    {Church  of  Assche.) 

SMEYERS,  Jakob,  painter,  bom  at  Mechlin  in 
1657,  was  the  son  of  Gillis  the  elder.  He  was  his 
father's  pupil,  and  entered  the  Guild  of  St.  Luke 
in  1688.  He  painted  history  and  genre,  but  was 
more  successful  with  portraits.  In  the  church  of 
S.  Catherine  at  Mechlin  there  are  a  '  Temptation  of 
S.  Anthony '  and  a  '  Holy  Family '  by  him,  and  in 
the  convent  of  the  Black  Nuns  a  picture  of  the 
Sisters  adoring  the  Trinity.  He  died  at  Mechlin 
in  1732. 

SMIBERT,  John,  (Smyeert,)  born  at  Edin- 
burgh about  the  year  1684,  served  his  time  with 
a  common  house  painter.  He  came  to  London, 
where  he  was  forced  to  content  himself  with  work 
for  coach  painters.  He  was  afterwards  employed 
in  copying  for  dealers.  He  studied  for  a  time  in  Sir 
James  Thornhill's  Academy,  and  then  went  to 
Italy,  where  he  spent  three  years  in  copying  Titian, 
Vandyck,  and  Rubens,  and  improved  enough  to  be 
largely  employed  on  portraits  after  his  return. 
When  he  had  thus  surmounted  his  early  difficulties 
he  was  tempted  to  embark  in  the  scheme  of  the 


Bisliop  of  Cloyne,  for  the  erection  of  a  universal 
college  of  arts  and  sciences  in  Bermuda.  The 
death  of  the  King,  his  patron,  put  an  end  to  the 
Bishop's  project,  but  Smibert,  who  had  set  sail, 
had  resolution  enough  to  proceed,  and  settled  at 
Boston,  in  New  England.  There  he  married  a 
lady  of  fortune,  and  continued  the  practice  of  his 
art,  exercising  great  influence  on  American  artists. 
He  died  at  Boston  in  1751,  leaving  two  children, 
one  of  whom,  Nathaniel,  became  an  artist. 

SMIES,  Jakob,  born  at  Amsterdam  in  1765, 
painted  a  few  pictures,  but  was  better  known  as  a 
drawing-master  and  illustrator  of  books.  He  died 
in  1826. 

SMIRKE,  Richard,  antiquarian  draughtsman, 
bom  in  1778,  was  the  brother  of  Sir  Robert  Smirke, 
and  was  brought  up  an  artist,  studying  in  the 
Academy  schools,  where  he  gained  a  gold  medal 
in  1799.  Eventually  he  abandoned  painting  for 
the  study  of  antiquities,  and  became  known  as 
an  accurate  draughtsman  of  such  subjects.  He 
was  much  employed  by  the  Society  of  Antiquaries, 
and  made  for  that  body  a  series  of  facsimiles 
from  the  ancient  paintings  in  St.  Stephen's  Chapel, 
Westminster.     He  died  May  5,  1815. 

SMIRKE,  Robert,  an  excellent  English  painter 
of  humorous  and  sentimental  subjects,  was  born 
at  Wigton  in  1752.  At  the  age  of  nineteen  he 
became  a  student  at  the  Royal  Academy,  but  did 
not  exhibit  there  till  the  year  1786  ;  in  1792  he 
was  elected  an  associate,  and  in  the  same  year  an 
academician.  It  is  said  that  he  painted  arms  on 
coach  panels  ;  so  did  Catton,  whose  name  is  among 
the  first  forty  of  the  Royal  Academicians.  His 
pictures  are  numerous,  and  generally  of  small 
dimensions,  as  they  were  mostly  painted  to  illus- 
trate plays,  poems,  or  novels,  and  intended  for 
the  engravers.  Such  compositions  he  carried  out 
mostly  in  monochrome,  or  with  but  very  slight 
indications  of  colour.  His  favourite  subjects  are 
from  Scripture,  English  history,  Shakspeare,  '  Don 
Quixote,'  the  '  Arabian  Nights,'  &c.  Those  for  the 
story  of  '  The  Hunchback,'  engraved  by  Daniell, 
are  in  his  happiest  manner.  He  continued  to 
practise  his  art  till  late  in  life.  It  is  said  that 
his  last  works  were  the  designs  for  tlie  bas-reliefs 
in  front  of  the  Oxford  and  Cambridge  Club 
House  in  Pall  Mall,  of  which  his  sons  were  the 
architects.  He  had  formerly  designed  the  bas- 
reliefs  for  the  Junior  United  Service  Club,  at  the 
corner  of  Charles  Street  and  Regent  Street,  also 
built  under  the  same  direction.  Smirke  died  in 
London  in  1845.  A  series  of  illustrations  to  '  Don 
Quixote '  have  been  deposited  by  the  National 
Gallery  authorities  in  the  Museum  of  Stoke-upon- 
Trent. 

SMIRKE,  Sydney,  a  very  clever  architect,  born 
in  1798,  brother  to  Sir  Robert  and  Sir  Edward 
'Smirke.  He  will  be  remembered  for  his  erection  of 
the  Exhibition  Galleries  at  Burlington  House,  the 
Pantheon  in  Oxford  Street,  the  Carlton  Club,  and 
Gunnersbury  Park,  but  his  sketches  in  Sicily  give 
him  a  right  to  be  mentioned  in  this  volume.  He 
was  a  very  successful  man,  and  popular  amongst 
his  brother  architects.  He  travelled  a  good  deal, 
and  wherever  he  went  filled  his  sketch-books 
with  bold,  fresh  drawings,  often  marked  by  un- 
usual beauty.     He  died  in  London  in  1877. 

SMIT,  Andreas,  a  Dutch  painter  of  marine 
subjects,  lived  about  the  middle  of  the  17th  century. 
There  is  a  good  sea-piece  by  him  in  the  Berlin 
Gallery.    There  was  also  an  Arnold  Smit,  who 

91 


A   BIOGRAPHICAL  DICTIONARY  OF 


lived  about  the  same  period,  and  painted  land- 
scapes and  sea-pieces.  His  large  pictures  of  marine 
subjects  resemble  the  darkest  of  Backhuysen.  There 
is  a  sea-piece  signed  A.  Smit,  in  the  Copenhagen 
Gallery,  attributed  to  him.  Perhaps  the  two  men 
are  identical. 

SMITH,  Anker,  an  excellent  engraver  of  small 
plates  in  line  for  books,  was  born  in  London  in 
1759.  He  received  his  education  at  the  Merchant 
Taylors'  School,  and  was  after^vards  articled  to  his 
uncle,  an  eminent  conveyancer.  He  soon  quitted 
him,  however,  for  an  engraver  of  the  name  of 
Taylor.  This  master  instructed  him  in  the  me- 
chanical part  of  the  business,  and  his  natural  talent 
soon  enabled  him  to  surpass  his  teaclier.  He 
became  an  assistant  to  James  Heath,  in  whose 
name  he  is  said  to  have  executed  several  plates, 
among  them  the  '  Apotheosis  of  Handel.'  Bell,  who 
was  now  publishing  an  edition  of  the  British  Poets, 
engaged  hira  to  engrave  the  plates  for  it ;  and  he 
was  soon  employed  by  other  publishers.  He  also 
engraved  several  of  the  plates  for  Smirke's  edition 
of  '  Don  Quixote.'  It  is  said  that  he  practised 
at  one  time  under  Bartolozzi.  He  was  one  of  the 
engravers  employed  by  Boydell  on  the  '  Shakspeare 
Gallery  '  ;  the  print  of  'The  Death  of  Wat  Tyler,' 
after  Northcote,  obtained  his  election  to  the  Royal 
Academy.  He  engraved  the  plates  for  an  edition 
of  Shakspeare  edited  by  Wood,  for  the  works  by 
Coombe,  on  'The  Ancient  Marbles  and  Terra- 
cottas in  the  British  Museum';  also  several  plates 
after  Leonardo  da  Vinci,  Titian,  and  Correggio. 
He  died  in  1819. 

SMITH,  Benjamin,  an  engraver  in  the  chalk 
and  dotted  manner,  was  born  in  London  ;  the  year 
of  his  birth  is  not  clearly  ascertained.  He  was  a 
pupil  of  Bartolozzi,  and  was  one  of  the  engravers 
employed  by  Boydell  on  his  'Shakspeare  Gallery,' 
some  of  the  best  plates  in  which  are  by  him.  He 
engTaved_  chiefly  after  contemporary  painters. 
Among  his  works  are  the  following  : 

Christ  healing  the  Sick  ;  after  B.  West. 

St.  Peter's  first  Sermon  ;  after  the  same. 

An  Allegory  of  Providence  ;  after  J.  F.  Rigaud. 

An  Allegory  of  Innocence  ;  after  the  same. 

Sigismunila ;  after  Hor/aiih. 

Bacchus  ;  after  Sir  J.  Reynolds. 

Shakspeare  nursed  by  Tragedy  and  Comedy,  and 

The  Infant  Shakspeare   attended   by  Nature  and  the 

Passions  ;  botll  after  Romney. 
An  equestrian  Portrait  of  George  III. ;  after  Beechey. 
The  I'ortrait  of  Napoleon  ;  after  Ajypiani. 
William  Hogarth  and  his  Dog  ;  after  Hoyarth. 
The  Marquis  Comwallis  ;  after  Copley. 
The  Annual  Ceremony  of  Admini^teriDg  the  Oath   of 

Allegiance  to  the  Lord  Mayor  elect,  &c. 
Scene  from  '  Richard  II.' ;  after  Mather  Brown. 

Smitli  died  in  18.33. 

SMITH,  Charles,  portrait  painter,  native  of  the 
Orkneys,  studied  in  London.  In  1793  be  resided 
in  Edinburgh,  and  exhibited  a  '  Nymph  '  and  an 
'  Infant  Bacchus,'  and  the  same  year  went  to 
India,  where  he  was  appointed  painter  to  the 
Great  Mogul.  In  1796  he  returned  to  London, 
and  exhibited  an  'Andromeda,'  a  '  Cymon  and 
Iphigenia,'  and  other  works.  In  1802  he  published 
a  musical  entertainment,  in  two  acts,  called  a  '  Trip 
to  Bengal.'  He  etched  his  own  portrait.  He  died 
at  Leitli  in  1824. 

SMITH,  Charles  John,  an  engraver,  was  bom 
at  Chelsea  in  1803.  He  was  the  son  of  an  eminent 
surgeon,  resident  there  for  many  years.  He  was 
instructed  in  the  art  of  engraving  by  Charles  Pye. 

92 


He  became  skilful  in  his  profession,  and  was  ex- 
tensively employed  in  the  best  antiquarian  and 
topographical  publications  of  the  time.  Among 
these  are  Stothard's  'Sepulchral  EfBgies,'  Cart- 
wright's  '  Rape  of  Bramber,'  Murray's  '  Illustrations 
of  Johnson,'  Dibdin's  '  English  Tour,'  and  others, 
some  of  which  were  published  privately.  In  1828 
he  engraved  a  series  of  facsimile  autographs  of 
illustrious  persons  from  the  reign  of  Richard  II. 
to  that  of  Charles  II.,  to  which  biographies  were 
furnished  by  John  Gough  Nichols,  F.S.A.  At  the 
time  of  his  death  he  was  engaged  in  a  work  en- 
titled '  Historical  and  Literary  Curiosities,'  of  which 
six  numbers  were  published  ;  the  two  required  to 
complete  it  were  left  unfinished.  He  was  a  fellow 
of  the  Society  of  Antiquaries.  His  death  occurred 
in  1838. 

SMITH,  CoLViN,  born  at  Brechin  in  1795, 
studied  in  the  schools  of  the  Royal  Academy  in 
London.  He  went  to  Italy  and  Belgium,  returned 
to  Scotland,  and  settled  in  Edinburgh.  He  executed 
many  portraits,  among  which  one  of  Sir  Walter 
Scott  became  so  popular  that  he  is  said  to  have 
repeated  it  more  than  twenty  times.  He  died  in 
1875.     Works: 

Edinburgh.      Nat.  Gallery.     Portrait  of  Lord  Melville. 
„  „  Portrait  of  Sir  Ralph  Aber- 

cromby 
„  „  Portrait  of   Sir  James  Mac- 

kintosh. 
Glasgow.  Gallery.    Portrait  of  Lord  Jeffrey. 

London.      Nat.  Part.  Gall.     Portrait      of      Sir      Walter 
Scott. 

SMITH,  CoNSTANTiN  Loois  F^Lix,  painter,  was 
born  in  Paris,  November  18,  1788.  He  was  a  pupil 
of  David  and  of  Girodet,  and  studied  at  the  Ecole 
des  Beaux  Arts.  He  exhibited  at  the  Salon  from 
1817,  and  his  best  known  works  are  to  be  found  in 
the  following  galleries  : 

Amiens.  Museum.    Andromache      at      Hector's 

Tomb. 
Nismes.  „  Athaliah's  Dream. 

Orleans.  „  An  Italian  Landscape. 

Versailles  Gallery      Amerigo  Vespucci. 

„  „  Louisa  of  Savoy,  Duchess  of 

Angouleme. 
>>  »  Mary     Adelaide    of    Savoy, 

Duchess  of  Burgundy. 

His  portrait  of  the  Regent  Philip  of  Orieans 
was  destroyed  in  the  pillage  of  the  Palais  Royal 
in  1848.  ^ 

SMITH,  Edward,  an  English  engraver,  who 
practised  early  in  the  19th  centurv.  He  engraved 
' Puck,'  after  Sir  J.  Reynolds,  'The  Piper '  and 
'  Guess  my  Name,'  after  Wilkie,  and  '  The  Contadini 
Family  Prisoners,'  after  Eastlake.  He  was  engaged 
on  Finden's  '  Royal  Gallery.' 

SMITH,  Emma,  water-colour  painter,  born  about 
1787,  was  the  daughter  of  John  Raphael  Smith. 
Slie  was  a  member  of  the  short-lived  Society  of 
Associated  Artists  in  Water-colours,  and  in  1805 
exhibited  'Hector  taking  Leave  of  Andromache' 
at  the  Royal  Academj'. 

SMITH,  Francis,  a  landscape  painter,  whose 
name  appears  in  some  of  the  earlier  catalogues  of 
the  Royal  Academy,  is  said  to  have  been  born  in 
Italy.  He  travelled  in  the  East  with  Lord  Balti- 
more. In  1770  he  exhibited  Views  of  Naples  and 
Constantinople ;  two  years  afterwards  a  '  View 
of  Naples,'  an  'Eruption  of  Vesuvius,'  and  an  'Old 
Temple  near  Pozzuoli ' ;  and  the  following  year 
views  of  London  and  Westminster  Bridges,  taken 


PAINTERS  AND  ENGRAVERS. 


from  tbe  bottom  of  Arundel  Street,  Strand.  There 
are  some  prints  after  drawings  by  him  of  Turkish 
costumes  and  ceremonies  in  the  seraglio.  He  died 
about  1779. 

SMITH,  Frederick  Coke,  water-colour  painter, 
was  born  early  in  the  present  century.  He  visited 
Turkey,  and  in  1836  completed  a  series  of  sketches 
of  Constantinople,  which  were  lithographed  by  J. 
F.  Lewis.  He  subsequently  published  a  set  of 
sketches  made  in  Canada.  His  works  show  great 
facility,  but  lack  finish.     He  died  in  1839. 

SMITH,  Gabriel,  engraver,  born  in  London  in 
1724.  Having  learned  to  use  the  burin  he  went  to 
Paris,  where  he  acquired  the  chalk  method  ;  and  on 
his  return  to  England  began  to  practise  it,  with  the 
assistance  of  Ryland,  with  some  success.  His 
best  plates  were  executed  for  Boydell.  We  may 
name  the  following  : 

The  Blind  leading  the  Blind  ;  after  Tintoretto. 
Tobit  with  the  Fish  ;  after  Sal.  Rosa. 
The  Queen  of  Sheba's  visit  to  Solomon  ;  after  Le  Sueur. 
A  Bear-hunt ;  after  Snyders. 

He  died  in  1783. 

SMITH,  George,  known  as  Smith  of  Chichester, 
was  the  son  of  a  man  who  combined  the  trades  of 
baker  and  cooper  with  the  calling  of  a  baptist 
minister.  He  was  born  at  Chichester  in  1714,  and 
with  his  brothers  studied  art  by  painting  the  scenery 
in  the  neighbourhood.  His  mature  works  were 
feeble  imitations  of  Claude  and  Poussin,  but  were 
fortunate  enough  to  be  engraved  by  Woollett  and 
others,  and  to  win  a  prize  from  the  Society  of  Arts 
over  the  head  of  Richard  Wilson.  With  his  brother 
John  he  published  fifty-three  small  etchings  from 
their  own  landscapes.  Smith  was  a  good  musician, 
frequently  performing  at  concerts,  and  a  poet  of 
some  taste.     He  died  in  1776. 

SMITH,  GeorqEj  painter,  born  in  London  in 
1802,  was  brought  up  as  an  upholsterer,  but  on 
coming  of  age  resolved  to  be  an  artist,  and  entered 
the  Academy  Schools.  He  made  such  progress 
that  in  1829  he  won  the  gold  medal,  and  was 
sent  to  Rome  in  the  following  year.  He  returned 
to  England  in  1833,  and  practised  in  London,  but 
his  works  did  not  meet  with  the  recognition  they 
deserved;  and  discouraged  by  his  want  of  success, 
he  fell  into  ill-health,  and  died  October  15,  1838. 
At  South  Kensington  there  is  by  him,  '  Scipio 
Africanus  receiving  his  son  from  the  Ambassadors 
of  Antioeluis.' 

SMITH,  George,  painter,  was  bom  on  April  18, 
1829.  He  studied  art  in  Mr.  Cary's  School,  and 
was  admitted  a  student  of  the  Royal  Academy 
Schools  in  1845.  As  a  young  man  he  attracted 
the  attention  of  C.  W.  Cope,  R.A.,  and  was  em- 
ployed by  him  as  his  assistant  in  executing  the 
Westminster  frescoes.  One  of  his  earliest  patrons 
was  the  Prince  Consort.  His  first  exhibited  picture 
was  'The  Gipsy  Girl,'  at  the  British  Institution  in 
1847,  and  after  this  date  he  showed  78  pictures 
at  the  Royal  Academy,  25  at  the  British  Institu- 
tion, 15  at  Suflfolk  Street,  and  others  at  minor 
Exhibitions.  He  painted  subjects  of  domestic 
genre  in  the  style  of  Webster,  and  a  good  idea  of 
their  character  may  be  gained  from  such  titl.s  as 
'The  Bird-Trap'  (1851);  'The  Launch  '  (1853) ; 
'Beware  of  the  Dog'  (1864);  'The  Valentine' 
(1867);  'Paying  the  Legacies'  (1872);  'Who 
comes  here?' (1873);  'Out  in  the  Cold  World' 
(1876)  ;  and  '  The  Soldier's  Wife '  (1878).  In  1883 
he  showed  his  own  portr.-dt  at  the  Academy,  and 
his  last  exhibits  were  'Weather  Permitting'  and 


'Blanche,'  in  1887.  In  the  Sheepshanks  Bequest 
at  South  Kensington  are,  '  Another  Bite  '  (1850)  ; 
'  Temptation— a  Fruit-Stall'  (1850) ;  and  '  Children 
gathering  Wild  Flowers'  (1851).  He  died  at  his 
residence,  187,  Maida  Vale,  on  January  2,  1901. 

M.H. 

SMITH,  Herbert  Luther,  painter,  born  in  1811, 
was  the  younger  brother  of  Frederick  William 
Smith,  the  sculptor,  and  a  student  of  the  Royal 
Academy.  He  exhibited  portraits  in  1831  and 
1832,  and,  later,  various  historical  subjects.  He 
was  much  employed  by  the  Queen  as  a  copyist. 
He  died  March  13,  1870. 

SMITH,  Jacob,  an  obscure  English  engraver, 
who  flourished  about  the  year  1730.  Among  other 
prints  he  engraved  the  portraits  of  Sir  Isaac  New- 
ton and  Sir  Hans  Sloane,  on  one  plate.  The  work 
is  carried  out  in  a  single  spiral  line,  like  Mellan's 
'  Sudarium  of  St.  Veronica.' 

SMITH,  Jan,  a  Dutch  painter  of  the  17th  century, 
painted  a  portrait  of  Adam  van  Vianen,  which  was 
engraved  by  Theodore  van  Kessel. 

SMITH,  J.  John,  landscape  painter,  bom  in 
London  about  1775.  He  exhibited  occasionally  at 
the  Academy  from  1813  to  1821,  and  etched  a  few 
plates  of  village  scenes. 

SMITH,  John,  landscape  painter,  born  at  Chi- 
chester in  1717,  was  younger  brother  to  Smith  of 
Chichester,  to  whom  he  was  inferior  as  an  artist. 
He  died  at  Chichester  in  1764. 

SMITH,  John,  born  at  Daventry  in  1652,  son  of 
an  engraver,  is  considered  the  best  mezzotint  en- 
graver of  his  time.  He  is  said  to  have  served  an 
apprenticeship  to  one  Tillet,  a  painter  in  Moorfields. 
As  soon  as  he  became  his  own  master,  he  learned 
the  art  of  mezzotint  scraping  from  Isaac  Becket, 
and  received  further  instruction  in  it  from  J.  Van 
der  Vaart.  Sir  Godfrey  Kneller  having  seen  some 
of  his  performances,  took  him  into  his  employment, 
and  engaged  him  to  engrave  many  of  his  portraits, 
which  are  the  best  of  his  works.  The  dates  on 
his  plates  range  from  1679  to  1727.  He  died  at 
Northampton  in  1742.  His  portrait  by  Kneller  is 
in  the  National  Gallery.  His  prints  are  very 
numerous  ;  among  them  are  the  following: 

Charles  II.  with  the  Star. 

James,  Duke  of  York,  leaning  on  an  Anchor. 

The  Duke  of  Schomberg  on  Horseback. 

Meinhard,  his  Son,  when  Duke  of  Leinster. 

William  III.    |    Queen  Mary  II. 

George,  Prince  of  Denmark  ;  an  oval. 

Queen  Anne,  wben  Princess  of  Denmark. 

John  Churchill,  Duke  of  Marlborough. 

John,  Duke  of  Buckingham. 

Charles  SackvlUe,  Earl  of  Dorset. 

Charles,  Earl  of  Halifax. 

Arnold,  Earl  of  Albemarle. 

■William,  Earl  of  Jersey. 

Catheriue,  Duchess  of  Rutland. 

Frances  Bennet,  Countess  of  Salisbury. 

Mary  Somerset,  Duchess  of  Ormond,  with  a  black  Boy. 

Henrietta,  Duchess  of  Bolton. 

Sir  Richard  Steele.        Joseph  Addison. 

Alexander  Pope.  Wilham  Congreve. 

John  Locke.  Sir  Godfrey  Kneller. 

Sir  Christopher  Wren.     1713. 

Lord  Euston  ;  whole  length.     1689. 

His  own  portrait ;   from  the  picture  in  the  National 
Gallery. 

(All  the  above  are  after  Kneller.) 

Queen  Mary  II.  with  a  high  head-dress  ;  after  Van  der 

Vaart. 
James  Fitzroy,  Duke  of  Monmouth  ;  after  Wissing. 
Godfried  Schalcken  ;  after  a  picture  hy  himself. 
Charles  XII. ;  after  D.  Craft.    1701-2. 
WilUam,  Duke  of  Gloucester,  and  Ben j.  Bathurst ;  after 

T.  Murray. 

93 


A  BIOGRAPHICAL  DICTIONARY  OF 


Thomas  Murray,  Pictor  ;  an  oval. 

W.  ^Yycherley  ;  after  Sir  F.  Lely. 

Gulielmus  Cowper,  Chyrurgus ;  after  J.  Clostemmn. 

The  Loves  of  the  Gods,  ten  Plates  ;  after  Titian. 

Venus  standing  in  a  Shell ;  after  Correyyio. 

Cupid  and  Psyche  ;  after  A .  Veronese. 

Tarquin  and  Lucretia ;  after  the  same. 

Time  conquering  Love  ;  after  S.  Vouet. 

Venus  and  Adonis  ;  after  N.  Poussin. 

The  Virgin  and  infant  Christ ;  after  F.  Baroccio. 

The  Holy  Family  ;  after  C.  Maratti. 

A  Woman  asleep  near  a  Light ;  after  G.  Schalchen. 

The  Story  of  Acta30n,  small  figures ;  after  F.  Berchet. 

M.  Magdalene  ;  after  G.  Schalcken. 

The  Angel  and  Tobit ;  after  Elsheimer. 

SMITH,  John,  known  as  Warwick  Smith,  was 
bom  at  Irthington,  Cumberland,  in  1749.  He  was 
one  of  the  early  drauglitsmen  in  water-colours.  He 
accompanied  Lord  Warwick  to  Italy,  where  he  made 
sketches.  His  Italian  drawings  date  from  1786 
to  1795,  and  show  a  vast  development  of  style. 
Eight  of  thera  are  in  the  South  Kensington  Museum. 
He  was  President  of  the  Water-Colour  Society  in 
1816.     He  died  in  London  in  1831. 

SMITH,  John  Chaloner.  This  man  was  the 
greatest  authority  upon  British  mezzotints,  and  his 
important  work,  a  full  list  of  plates  up  to  1820, 
was  issued  between  1878  and  1884  in  parts.  He 
collected  engravings  of  all  kinds,  and  was  par- 
ticularly successful  in  making  pencil  drawings  of 
them  in  a  book  he  carried  about  in  his  pocket,  as 
an  aid  to  the  purchase  of  finer  examples  than  he 
happened  to  possess  at  the  time.  He  was  an 
Irishman,  bom  in  1827  at  Dublin,  had  considerable 
work  in  connection  with  the  engineering  of  the 
Irish  railways,  and  died  in  Ireland  in  1895. 

SMITH,  John  Orrin,  an  English  wood-engraver, 
bom  at  Colchester  in  1799.  Intended  for  an  archi- 
tect, he  preferred  engraving,  and  in  1824  became  a 
pupil  of  W.  Harvey,  He  was  much  employed  in 
book-illustration.  He  died  in  1843.  Aanongst  the 
works  for  which  he  made  woodcuts  were : 

The  Kenny-Meadows  Edition  of  Shakespeare. 

Paul  and  Virginia.     1835. 

Herder's  '  Cid,'  Stiittgart.     1839. 


Scott "s  Bible. 

La  Fontaine's  Fables. 

Beranger's  Songs. 


The  Solace  of  Song.     1837. 
Oowper's  Poems.     1841. 
The  Arabian  Nights.     1841. 


SMITH,  John  Raphael,  painter  and  mezzotint 
engraver,  was  the  son  of  Thomas  Smith  of  Derby, 
the  landscape  painter,  and  was  born  in  the  year 
1752.  He  commenced  life  as  a  shopman  in  Derby, 
but  came  early  to  London.  It  is  not  known  by 
whom  he  was  taught  mezzotint  and  crayon  draw- 
ing, but  he  became  eminent  in  both.  His  plates 
only  amount  to  about  one  hundred  and  fifty.  He 
led  a  life  of  business  and  pleasure,  the  latter  pre- 
dominating, and  he  lost  the  advantages  fortune 
placed  in  his  way.  He  had  a  good  heart,  encouraged 
merit  in  others,  assisted  George  Morland,made  the 
world  acquainted  with  Chantrey's  abilities,  gave  his 
advice  kindly  and  generously  to  all  artists  who 
consulted  him,  and  was  no  man's  enemy  but  his 
own.  At  one  time  he  travelled  as  an  itinerant 
portrait  painter;  lie  also  painted  figure  subjects  in 
a  style  between  those  of  Morland  and  Wheatley. 
Among  his  pupils  were  William  Hilton  and  Peter 
de  Wint.  For  the  last  three  years  of  his  life 
he  resided  at  Doncaster,  where  he  died  in  1812, 
in  his  60th  year.  Among  his  best  plates  are  the 
following : 

The  Duke  of  Devonshire. 

William  Markham,  Archbishop  of  York. 

Kichard  Kobinson,  Archbishop  of  Armagh. 

94 


Jcseph  Dean  Bourke,  Archbishop  of  Tuam. 

Lady  Beaumont. 

Lady  Caroline   Montague,  daughter  of  the   Duke  of 

Buccleuch. 
Mrs.  Montague. 

The  Marchioness  of  Thomond,  when  Miss  Palmer. 
Lady  Gertrude  Fitzpatrick,  daughter  of   the  Earl   of 

Upper-Ossory. 
Lady  Catherine  Pelham  Clinton. 
Master  Crewe,  as  Henry  VIII. 
Master  Herbert,  as  the  young  Bacchus. 
Lieutenant-Colonel  Tarleton. 
Mrs.  Musters. 

Lieutenant-General  Sir  William  Boothby. 
Louis  Philippe,  Duke  of  Orleans  (EgalitS). 
The  Student. 
The  CalUng  of  Samuel. 

{Tlie  above  are  all  after  Reynolds.) 

Vice-Admiral  Sir  Hyde  Parker ;  after  Northcoie. 

Miss  Cogblan  ;  after  Gainsborough. 

Mrs.  Siddons,  as  the  Grecian  Daughter  ;  after  Lawrence. 

Edw.  Wortley-Montagu,  as  an  Oriental ;  after  Peters. 

George  IV.  when  Prince  of  Wales  ;  after  Gainsborough. 

Marie- Antoinette,  Queen  of  France. 

William,  Duke  of  Portland  ;  after  West. 

Friedrich,  Prince  of  Hesse-Cassel ;  after  Eusca. 

Admiral  Lord  Duncan  ;  after  Dantoux. 

Martin  Ryckaert ;  after  Van  Dyck. 

Woodward,  as  Petruchio ;  after  Van  der  Gucht. 

Four  crayon  portraits  by  Raphael  Smith  are  in  the 
South  Kensington  Museum. 

SMITH,  John  Rubens,  painter,  son  of  John 
Raphael  Smith,  was  born  on  January  23,  1775. 
From  1796  to  1811  he  had  forty-eight  exhibits  at 
the  Royal  Academy.  Most  of  these  are  portraits, 
but  some  are  subject  pictures  or  landscapes,  such 
as 'Olivia's  Return' (1797);  '  The  slighted  Maid,' 
from  Shakespeare's  'Lover's  Complaint '  (1799)  ; 
and  a  '  View  of  Reculver,  near  Margate  '  (1802). 

SMITH,  John  Thomas,  engraver  and  writer,  was 
born  in  1766.  His  father,  Nathaniel,  had  been  a 
pupil  of  Roubilliac,  and  had  formed  an  early  friend- 
ship with  the  younger  Nollekens.  At  the  age  of 
thirteen  John  Thomas  Smith  was  introduced  to 
the  studio  of  Nollekens,  to  whom  his  father 
was  then  principal  assistant.  Here  he  had  much 
practice  in  drawing,  and  after  three  years  became 
a  student  of  the  Royal  Academy.  Having  shown 
much  ability  by  some  drawings  in  imitation  of 
Rembrandt  and  Ostade,  he  became  the  pupil  of 
Sherwin  the  engraver.  After  leaving  Sherwin  he 
practised  as  a  drawing-master,  but  in  1791  he  com- 
menced his  first  independent  work, '  The  Antiquities 
of  London  and  its  Environs,' which  he  completed  in 
1800,  the  whole  consisting  of  ninety-six  plates  in 
imperial  quarto.  He  next  published  '  Antiquities 
of  Westminster,'  illustrated  with  two  hundred  and 
forty-six  engravings  from  subjects  the  greater  part 
of  which  no  longer  exist,  to  which  he  afterwards 
added  a  Supplement.  These  works  were  followed 
by  '  Ancient  Topography  of  London,'  completed 
in  1815,  which  contains  thirty-two  plates  boldly 
etched  in  a  style  like  that  of  Piranesi.  In  1816 
Smith  was  appointed  Keeper  of  the  Prints  in  the 
British  Museum.  In  that  situation  he  found  leisure 
to  publish  '  Vagabondiana,  or  Anecdotes  of  Men- 
dicant Wanderers  through  the  Streets  of  London,' 
which  he  illustrated  with  etchings  of  remarkable 
beggars  and  other  notorieties.  His  last  publication 
was  'Nollekens  and  his  Times.'  His  'Book  for  a 
Rainy  Day '  appeared  after  his  death.  He  died  in 
London,  after  a  short  illness,  in  1833. 

SMITH,  Joseph  Clarendon,  water-colour  painter 
and  engraver,  was  born  in  London  in  1778.  His 
father,  a  builder,  left  his  son  without  provision,  and 


JOHN   RAPHAEL  SMITH 


[From  the  mustotint  after  Romney 


TAVADANEEGA,  CHIEF  OF  THE  MOHAWKS 
1779 


PAINTERS  AND   ENGRAVERS. 


the  boy  was  accordingly  sent  to  sea.  After  three 
years'  service  he  gained  admission  to  Christ's 
Hospital  School  to  study  navigation.  Here  he 
showed  an  inclination  for  art,  which  led  to  his 
being  apprenticed  to  an  engraver,  under  whom  he 
worked  creditably,  but  afterwards  meeting  with 
little  recognition  he  began  to  practise  water- 
colour,  and  with  more  success.  He  exhibited 
topographical  subjects  at  the  Academy  from  1806 
onwards.  His  best  work  as  an  engraver  is  to  be 
found  in  Weld's  '  Topography  of  Killamey.'  At- 
tacked by  lung  disease  he  was  ordered  to  Madeira, 
and  died  on  the  return  voyage  in  August,  1810. 
Two  examples  of  his  work  are  at  South  Kensington. 
SMITH,  Robert  Henry  Soden,  a  keeper  of  the 
Art  Gallery  at  South  Kensington,  born  in  1822, 
who  for  his  exquisite  drawing  of  shells  must  be 
considered  as  an  artist.  His  first  profession  was 
in  connection  with  the  College  of  Arms  in  Ireland  ; 
but  in  1868  he  became  Keeper  of  the  National  Art 
Library,  and  did  very  important  work  at  South  Ken- 
sington. He  will  be  remembered  for  the  admirable 
catalogue  of  books  on  art  he  compiled,  and  for  the 
attention  he  gave  to  jewellery.  He  never  married, 
and  he  never  produced  the  book  on  shells  for  which 
he  was  preparing  during  many  years  of  his  life. 
He  died  in  1890,  after  a  somewhat  serious  operation. 
SMITH,  Samuel,  engraver,  born  in  London  about 
1745,  practised  in  landscape,  and  completed  some 
good  plates,  such  as  '  The  Finding  of  Moses,'  after 
Zuccarelli,  and  a  'Ninbe,'  after  Wilson. 

SMITH,  Samdel  S.,  an  English  engraver,  bom 
in  1810.  He  worked  much  for  the  '  Art  Journal.' 
He  died  at  St.  John's  Wood  in  1879.  Amongst  his 
best  plates  are : 
The  Carrara  Family  ;  after  Eastlake. 
St.  Agnes  ;  after  Domenichino. 
SMITH,  Stephen  Catterson,  the  President  of 
the  Hibernian  Academy,  born  at  Shipton,  Yorks,  in 
1806,  the  son  of  a  coach-painter.  He  studied  at 
the  Royal  Academy  classes,  and  began  to  exhibit 
in  1838.  He  was  called  over  to  Ireland  in  1840 
to  paint  the  portraits  of  the  Lord  Lieutenant  and 
of  Mr.  Wingfield,  and  finding  that  there  was 
considerable  demand  for  portraiture  in  Ireland, 
he  settled  down  in  that  country,  and  there  spent 
the  rest  of  his  life.  He  was  President  of  the 
Royal  Hibernian  Academy  in  1859,  and  continued 
in  office  until  1864.  Four  years  afterwards  he 
was  re-elected,  but  was  obliged  to  rehnquish  the 
position.  He  died  quite  suddenly.  May  31,  1872. 
Works ; 

Dublin.  National  Gallery.  Portrait  of  himself. 

„  „  Portrait  of  W.  Dargan. 

„  „  Portrait  of  Peter  Purcell. 

„  „  Portrait      of       Sir       Philip 

Crampton. 

„  „  Portrait  of  John,  fourth  Earl 

,.  „  of  Bessborough. 

"         ^'^"^  "%lTety  ]  ^°''''''*  °^  hi^s^M. 

"  -^  Catterson  }  p    ^  j^j  ^f  j^e  Artist's  Wife. 

"^'Leech^E^q  }  P^^rait  of  J.  B.  Leech,  Esq. 

„  Mansion  House.     Portrait  of  Queen  Victoria. 

„  City  Hall.     Portrait  of  Daniel  O'Connell. 

„  Castle.     Portraits  of  several  Viceroys. 

London.  Sonth  Kensington.     Portrait  of  Lord  Duugannon. 

His  wife  was  a  successful  miniature  painter,  and 
persuaded  her  husband  to  paint  a  few  miniatures, 
which  were  somewhat  remarkable  for  their  breadth 
of  treatment  and  grand  colouring. 


SMITH,  Thomas,  an  ingenious  English  land- 
scape painter,  who  resided  chiefly  at  Derby,  and 
was  usually  styled  Smith  of  Derby,  to  distingnish 
him  from  the  other  artist  of  the  same  name  who 
practised  at  Chichester.  Without  the  help  of  a 
master  he  reached  an  eminent  rank  in  his  profes- 
sion, and  was  one  of  the  first  of  English  artists  to 
explore  and  display  the  charming  scenery  of  his 
native  country.  He  painted  many  picturesque 
views  in  the  Peak  ;  forty  of  these,  engraved 
by  Vivares,  were  published,  collectively,  by  Boy- 
dell  in  1760.  Other  views  were  engraved  by 
Mason  and  Elliot.  Smith  also  painted  some  sport- 
ing subjects.  He  died  at  the  Hot  Wells,  Bristol, 
in  1769. 

SMITH,  Thomas  Corregqio,  miniature  painter, 
the  eldest  son  of  Smith  of  Derby,  was  brought 
up  to  his  father's  profession,  for  which,  how- 
ever, he  seems  to  have  had  very  little  aptitude. 
He  exhibited  miniatures  and  small  portrait  draw- 
ings of  a  very  mediocre  stamp  at  the  Academy 
from  1785-1788.  He  settled  at  Uttoxeter,  where 
he  died  early  in  the  19th  century. 

SMITH,  'Tom,  engraver,  was  a  pupil  of  Charles 
Grignon,  and  executed  some  plates  jointly  with  C. 
White.  He  became  independent  of  his  profession 
through  coming  into  a  fortune.  On  this  account 
he  was  known  among  his  companions  as  '  Squire 
Smith.'  He  died  of  fever  when  still  a  young  man, 
in  1785. 

SMITH,  William,  bom  at  Guildford  in  1707, 
devoted  himself  to  portraiture,  but  later  tried 
landscape,  and  afterwards  fruit  and  flowers.  He 
was  the  eldest  brother  of  Smith  of  Chichester. 
He  died  at  Shopwyke,  near  Chichester,  in  1764. 

SMITH,  W.  BioASE,  was  a  strildng  painter  of 
marine  views  and  landscapes.  He  lived  at  Fal- 
mouth, was  a  member  of  the  Society  of  Western 
Artists,  and  did  much  to  encourage  art  in  the  west 
of  England.  For  thirty  years  he  exhibited  in  the 
art  section  of  the  Cornwall  Polytechnic  Society, 
and  in  later  years  acted  as  judge  with  H.  S.  Tuke. 
His  principal  works  were  exiiibited  at  Birmingham, 
Manchester,  and  Liverpool,  his  favourite  subjects 
being  on  the  Gyllan  river,  and  in  the  neighbour- 
hood of  Helford.  His  pictures  were  a  faithful 
interpretation  of  nature,  rendered  with  sympathy 
and  skill.  Boase  Smith  died  at  Falmouth  on 
January  24,  1896,  at  the  age  of  fifty-four.     If.  H, 

SMITH,  William  Collingwood,  landscape- 
painter,  was  born  at  Greenwich  in  1815.  He  was 
to  a  large  degree  self-taught,  but  received  some 
instruction  from  J.  D.  Harding.  In  1836  he  ex- 
hibited at  the  Royal  Academy  an  oil  painting  of 
the  north  aisle  of  Westminster  Abbey,  and  con- 
tinued to  exhibit  there  and  at  the  British  Institu- 
tion until  1843,  when  he  was  elected  an  Associate 
of  the  Society  of  Painters  in  Water-Colours.  His 
earlier  subjects  as  an  Associate  were  marine  pieces, 
but  afterwards  he  travelled  in  France,  Switzerland, 
and  Italy,  and  exhibited  landscape  and  architec- 
tural views.  He  was  a  rapid  worker,  and  his  draw- 
ings are  marked  by  breadth  of  effect  and  firmness 
of  touch,  though  they  sometimes  lack  the  subtler 
qualities  of  colour  and  form.  In  1849  he  became  a 
full  member  of  the  Old  Water-Colour  Society,  and 
from  1854  to  1879  was  Treasurer.  During  the 
forty-five  years  of  his  connection  with  the  Society 
he  exhibited  two  thousand  drawings,  his  last  work 
being  a  view  of  'Windsor  from  Datchet '  for  a 
collection  of  drawings  presented  as  a  Jubilee  gift 
to  the  Queen.     He  died  at  his  residence  on  Brixton 

95 


A  BIOGRAPHICAL  DICTIONARY  OF 


Hill  on  March  15,  1887.  A  small  collection  of  his 
works  was  exhibited  in  the  following  winter  by  the 
Water-Colour  Society,  and  his  remaining  works 
were  sold  at  Christie's  in  March  1888.  Two  of  bis 
drawings, '  The  Otter's  Haunt'  and  'Arundel  Park, 
Sussex,'  are  in  the  Victoria  and  Albert  Museum. 

M.  H, 

SMITS,  Frans  Marcus,  a  Flemish  painter,  born 
at  Antwerp  in  1760.  In  1779  he  was  studying  at 
the  Academy  at  Antwerp.  He  was  also  a  pupil  of 
A.  de  Querteraont.  He  died  at  the  Hospital  of 
S.  Elizabeth  in  1833,  after  a  hfe  of  much  privation 
and  poverty.  At  Antwerp  there  is  a  portrait  of 
the  painter  Herreyns  by  him.  He  also  painted  a 
good  portrait  of  Ommeganck. 

SMITS,  L0DOLF,  (or  Lddewyk,)  called  Hart- 
camp,  was  born  at  Dort  in  1635,  and  acquired  some 
reputation  as  a  painter  of  flowers  and  fruit,  but  his 
impasto  was  so  thin  that  his  works  are  now  almost 
obliterated.     He  was  still  living  at  Dort  in  1675. 

SMITS,  Nicholas,  a  native  of  Breda,  and  born 
about  the  year  1672,  is  mentioned  as  a  good 
painter  of  historical  subjects.  It  is  said  that  he 
died  in  1731,  but  the  Dutch  writers  seem  to  know 
little  or  nothing  of  his  history.  His  works  are 
few. 

SMITZ,  Caspar,  (Smits,)  a  Dutch  painter,  who 
came  to  England  soon  after  the  Restoration,  and 
who,  from  painting  a  great  number  of  Magdalenes, 
was  called  '  Magdalene  Smith.'  He  visited  Ireland, 
where  he  painted  small  portraits  in  oil,  at  high 
prices.  His  flower  and  fruit  pieces  were  good. 
In  his  Magdalenes  he  generally  introduced  a 
thistle  in  the  fore-ground.  He  died  poor  at  Dublin 
in  1707.  He  engraved  three  mezzotints,  a  portrait, 
a  '  Magdalene  in  a  Grotto,'  and  a  '  Hagar  in  the 
Wilderness.' 

SMUGLEWICZ,  LuciAN,  painter,  flourished  at 
the  end  of  the  18th  century  at  Warsaw.  He  painted 
some  frescoes  in  the  Castle  and  Dominican  Church 
at  Lancut,  in  Galicia.  He  was  the  pupil  of  his 
father,  one  Lucas  Smoqlewics!. 

SMYTERS,  (or  De  Smytere.)     See  De  Heere. 

SMYTH,  JoHK  Talpodrd,  engraver,  born  at 
Edinburgh  in  1819,  studied  under  Sir  W.  Allan 
and  at  the  Trustees'  Academy,  though  he  was 
chiefly  self  taught.  In  1838  he  went  to  Glasgow, 
but  returned  to  Edinburgh,  where  he  died  in  1851. 
His  chief  engravings  are  : 

Knox  distributing  the  Lord's  Supper ;  after  Wilkie. 
Tartars  dividing  their  Booty;  after  Allan, 
The  Last  in  ;  after  Mulready. 

SNAPHAAN.     See  Schnaphan. 

SNAYERS,  Hendbik,  (SNYERS,)  a  Flemish 
engraver,  born  at  Antwerp  about  the  year  1612.  It 
is  not  ascertained  from  whom  he  learned  his  art  of 
engraving,  but  he  imitated  the  style  of  Scheltius  k 
Bolswert  with  considerable  success.  His  drawing 
is  tolerably  correct,  and  his  prints  exhibit  much 
of  the  character  of  the  masters  after  whom  he 
worked.     We  have,  among  others,  by  him. 

Portrait  of  Prince  Eupert ;  after  Vandyck. 

Adam  Van  Noort ;  after  jordaens. 

The  Virgin  seated  upon  a  step,  surrounded  by  several 

Saints ;  after  liuhetis. 
The  Fathers  of  the  Church  ;  after  the  same. 
The  Death  of  St.  Francis  ;  after  the  ^ine. 

He  also  engraved  some  plates  from  Titian  and 
other  masters,  and  a  few  portraits.  He  signed  his 
engravings  Heinrich  Snyers  and  U.  Snyers. 

SNAYERS,  PlETEB,  born  at  Antwerp  in  1593, 
was   a   scholar   of  Sebastian    Vrancx.      Although 

96 


he  painted  history  and  portraits  with  considerable 
success,  he  distinguished  himself  more  by  his 
battles  and  landscapes.  He  was  patronized  by  the 
Archduke  Albert,  who  appointed  him  his  painter, 
and  sent  several  of  his  pictures  to  Spain  ;  which 
brought  him  many  commissions  from  the  Spanish 
court.  Vandyck  painted  the  portrait  of  Snayers 
among  the  eminent  artists  of  his  time.  He  was 
still  living  in  1669.  There  are  pictures  by  him  in 
many  public  Galleries,  including  sixteen  at  Madrid. 
There  is  a  good  'Cavalry  Skirmish'  at  Dulwich, 
and  a  fine  '  Battle  uf  the  Forty'  at  Hampton  Court. 

SNELLAERT,  Jan,  a  Flemish  painter  of  the 
15th  century,  who  is  recorded  as  working  in  Ant- 
werp from  1453  to  1480,  and  who  is  discovered,  by 
recent  researches,  to  have  received  the  freedom  of 
the  city  in  1484.  He  is  looked  upon  as  the  founder 
of  the  Antwerp  school,  and  must  have  been  a 
painter  of  considerable  distinction,  to  judge  from 
the  prominent  position  he  took  in  civic  and  artistic 
matters.  He  was  appointed  painter  to  Mary  of 
Burgundy,  and  Kramm  surmises  that  he  may  have 
been  the  author  of  the  paintings  in  the  ancient 
chapel  of  the  Dukes  of  Burgundy  at  Antwerp. 
Jointly  with  his  friend  Jan  Scoermoke,  he  was  the 
first  Dean  of  St.  Luke,  at  Antwerp. 

SNELLAERT,  Nicholas,  son  of  Willem,  born 

at  Courtrai  about  1540.     In  May  1586  migrated 

to  Dordrecht;  there  admitted  to  Guild  of  St.  Luke. 

May  31,  1588,  married  Eneken  van  Spertsenberg 

"of Antwerp;  died  1602. 

SNELLAERT,  Willem,  a  Flemish  painter,  who 
flourished  at  Courtrai  about  1560,  and  is  mentioned 
by  Van  Mander  as  the  first  master  of  Pieter  Vlerick, 

SNELLINCK,  Jan,  (SNELLINCKX,)  was  born 
at  Mechlin  in  1544,  according  to  his  epitaph.  It  is 
not  known  by  whom  he  was  taught,  but  Karel 
van  Mander,  in  the  '  Life  of  Otho  Venius,'  calls  him 
an  eminent  painter  of  history  and  battles.  There 
are  some  historical  pictures  by  him  in  the  Belgian 
public  buildings,  which  prove  him  to  have  pos- 
sessed a  considerable  gift  for  '  high  art.'  His  best 
works,  however,  were  skirmishes  and  attacks  of 
cavalry.  He  lived  at  Antwerp,  where  he  was 
much  employed,  and  was  appointed  court-painter 
to  Albert  and  Isabella,  the  governors  of  the  Nether- 
lands. His  battle-pieces  are  well  grouped,  the 
figures  and  horses  correctly  designed,  and  the 
fury  of  the  combatants  fully  expressed.  The 
talents  of  Snellinck  were  appreciated  by  Van- 
dyck, who  painted  and  etched  his  portrait  among 
the  distinguished  artists  of  his  time.  Snellinck 
worked  much  as  a  designer  of  patterns  for  the 
factories  of  Oudenarde.  He  was  twice  married, 
and  of  his  numerous  sons  no  fewer  than  five  were 
painters,  viz.  Jan,  born  1575 ;  Daniel,  bom 
1576;  Gerard,  born  1577;  Andries,  bom  1587; 
Abraham,  born  1597.  Snellinck  died  at  Antwerp 
in  1638.     Works: 

Mechlin.  Ch.ofSt.  }  ,^^^  Kesurrection. 

Jionil'aut.    ) 

r^'^A'  °-^'^''  ]  Descent  of  the  Holy  Ghost. 
Catherine.    )  ■' 

Oudenarde.       Ch.of «.  |  Transfiguration. 

'"'■•"f'^'''"'''}  Creation  of  Adam. 
Dome.      } 

SNELLING,  Matthew,  portrait  and  miniature 
painter,  practised  in  the  reign  of  Charles  II.,  paint- 
ing heads,  chiefly  of  ladies.  There  is  a  portrait 
by  him  at  the  College  of  Physicians,  and  a  portrait 
of  Charles  I.,  dated  1647,  was  exhibited  at  South 
Kensington  in  the  Loan  Collection  of  1862. 


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PAINl'ERS  AND  ENGRAVERS. 


SNELLING,  Thomas.  Many  of  the  illustrations 
in  the  important  works  on  silver  and  gold  coinage 
issued  by  this  eminent  coin-dealer  were  his  own 
work,  and  he  also  designed  one  or  two  medals,  one 
of  which  was  his  own  portrait  engraved  by  Pingo. 
He  should,  therefore,  receive  some  attention.  He 
was  born  in  1712,  lived  all  his  life  in  Fleet  Street, 
was  a  great  friend  of  William  Hunter  the  anato- 
mist, published  some  of  the  most  important  works 
on  coins  and  tokens  that  have  ever  been  issued, 
and  died  in  1773. 

SNELLINKS,  J.,  a  Dutch  painter,  who  practised 
in  the  manner  of  F.  Moucheron,  painting  landscapes 
with  figures.     He  died  at  Rotterdam  in  1691. 

SNIP.     See  Terwesten,  AuGUSTiNns. 

SNUFFELAER.     See  Scheieck. 

SNYDERS,  Franz,  painter,  born  at  Antwerp  in 
1579,  received  his  first  instruction  from  Hendrik 
van  Balen  and  P.  Brueghel.  For  some  time  he 
confined  himself  to  painting  still-lLfe,  in  which  he 
excelled  ;  but  he  afterwards  devoted  his  studies  to 
a  more  difficult  branch  of  art,  in  which  he  won 
a  unique  celebrity.  He  painted  animals  and  hunts 
with  surprising  fire  and  spirit.  The  talents  of 
Snyders  excited  the  admiration  of  Rubens,  who 
frequently  intrusted  him  to  paint  the  animals,  fruit, 
&c.,  in  his  pictures,  although  he  could  do  them  so 
well  himself.  Snyders  is  said  to  have  travelled  in 
Italy,  though  others  assert  that  he  never  left 
Flanders,  but  constantly  resided  at  Antwerp,  ex- 
cept for  a  short  time,  when  he  was  invited  to 
Brussels  by  the  Archduke  Albert.  For  him  he 
painted  some  of  his  finest  works,  particularly  a 
stag-hunt,  which  was  sent  by  the  Archduke  to 
Philip  HI.  of  Spain,  who  commissioned  Snyders 
to  paint  several  large  hunting  pictures,  and  com- 
bats of  wild  beasts,  which  are  still  in  the  old 
palace  of  Buen-Retiro.  He  also  excelled  in  painting 
kitchens  and  larders  stored  with  game,  fish,  fruit, 
vegetables,  &c.,  which  are  occasionally  provided 
with  figures  by  Rubens  and  Jordaens.  Vandyck 
painted  Snyders  more  tlian  once.  One  example  is 
at  Castle  Howard.  Snyders  died  at  Antwerp  in 
1657.  His  pictures  are  very  numerous.  The  fol- 
lowing are  good  and  accessible  examples : 

Antwerp.  Museum.     Swans  an(i  Dogs, 

Berlin.  „  The  Cock  Fight. 

Dresden.  Gallery.    Kitchen,    with      portraits    of 

Rubens    and    his    Wife,   by 
himself. 
Edinburgh,  Nat.  Gallery.    A  Wolf  Hunt. 

„  „  Mischievous  Monkeys.      {And 

two  more.) 
Florence.  Uffizi.     A  Boar  Hunt. 

Hampton  Court.  A    Boar    Hunt.      (And    three 

more.) 
Madrid.  Museum.     Twenty-one  pictures  of  hunts, 

&c, 
Munich.  Pinakoikek.     Interior  of  a  Kitchen. 

„  „  A  Boar  Hunt. 

„  „  A  Lioness  killing  a  Wild  Boar. 

Paris.  Louvre.    A  Stag  Hunt. 

„  „  Paradise, 

„  „  Animals  going  into  the  Ark. 

„  „  A  Boar  Hunt. 

The  Hague.        Museum.     Stag    Hunt.       {Landscape    hy 
Rubens.) 
„  „  Kitchen,  with  game  and  vege- 

tables.    (Figures  by  EubeJis.) 

SNYERS,  PiETER,  born  at  Antwerp  in  1681, 
studied  his  art  under  Alexander  van  Bredael.  In 
1707  he  was  free  of  the  Guild  of  S.  Luke,  and  was 
afterwards  president  of  the  Antwerp  Academy.  He 
is  reported  to  have  visited  London,  and  to  have 
painted  portraits  of  various  members  of  the 
VOL.  T.  H 


nobility.  A  '  Rocky  Landscape '  in  the  Antwerp 
Museum  is  one  of  his  best  works.  Besides  land- 
scapes and  portraits  he  also  painted  flower-pieces 
with  much  skill.     He  died  in  1752. 

SNYERS,  PiETEB  Jan,  the  nephew  of  Pieter 
Snyers,  was  born  at  Antwerp  in  1696,  and  was 
instructed  by  his  uncle,  but  when  only  twenty-five 
years  old  abandoned  his  profession.  His  works 
are  consequently  very  scarce.  His  subjects  were 
hunting-scenes,  and  he  excelled  in  those  of  small 
size.     He  died  in  1757. 

SOANE,  Sir  John.  The  Soane  Museum  in 
Lincoln's  Inn  Fields  is  the  memorial  of  this 
remarkable  architect,  a  man  of  the  most  extra- 
ordinary ideas,  afflicted  with  eccentricity  and  with 
a  very  irritable  temper.  He  was  a  Berkshire  man, 
bom  in  1753,  his  name  originally  being  Swan.  He 
changed  it  to  Scan,  and  later  on  added  an  "  e"  to 
it.  He  was  a  pupil  of  George  Dance  and  of  Henry 
Holland,  and  in  1788  became  architect  to  the  Bank 
of  England,  the  greater  part  of  which  he  rebuilt. 
He  became  exceedingly  wealthy  through  his  wife, 
and  was  a  great  collector  of  pictures,  gems, 
manuscripts,  and  books.  His  architectural  draw- 
in.ijs  are  marked  not  only  by  considerable  know- 
ledge of  classical  work,  but  by  an  overpowering 
desire  to  use  ornamentation.  He  bequeathed  his 
house  with  its  entire  contents  to  the  nation,  fetter- 
ing the  bequest  with  many  strange  regulations, 
quarrelled  with  both  his  children,  and  the  only 
excuse  he  gave  for  refusing  a  baronetcy  which 
was  offered  him  on  account  of  his  public  work 
was  his  determination  that  his  son  should  never 
possess  it  He  hid  away  some  of  his  property  in 
various  places,  leaving  instructions  for  his  papers 
to  be  examined  at  different  distinct  intervals  after 
his  death,  many  years  occurring  between  each 
interval,  and  he  left  away  from  his  sons  all  that 
he  could  dispose  of.  A  great  part  of  his  fortune 
came  to  his  prandchildren,  but  a  considerable  part 
of  his  property  has  never  been  properly  accounted 
for,  and  is  thought  to  be  still  fettered  by  some  of 
his  eccentric  regulations.     He  died  in  1837. 

SOBLEO.     See  Deshbleo. 

SOBRINO,  Dona  Cecilia,  nee  Morillas,  born 
1638,  carved  in  wood,  and  painted  ;  she  was  par- 
ticularly skilful  in  the  execution  of  globes  and 
maps.  She  is  said  to  have  had  a  thorough  know- 
ledge of  Greek,  Latin,  and  Italian,  and  to  have  been 
well  versed  in  various  branches  of  science.  She 
had  a  son  and  a  daughter  who  devoted  themselves 
to  art,  Jos£  and  Cecilia.  The  latter  was  a  Car- 
melite nun  at  Valladolid,  where  many  of  her 
paintings  are  still  to  be  found,  and  died  April  7, 
1646.  Her  mother  died  at  Madrid,  October  21, 
1581. 

SOCRATES,  a  Greek  painter,  mentioned  by 
Pliny  as  a  disciple  of  Pausias. 

90DAR,  Franz,  French  painter ;  born  in  1827 
at  Dinant ;  his  early  studies  were  perfected  by 
lengthy  travel  ;  and  after  working  at  historical 
and  genre  subjects  his  profoundly  religious  tem- 
perament caused  him  to  choose  sacred  art  as  his 
sole  means  of  expression.  He  paid  visits  to  various 
holy  places,  and  finally  settled  at  Assisi.  From 
Pope  Leo  XIII.  he  received  the  gold  medal  for 
Christian  art.     He  died  at  Assisi,  in  January  1900. 

SODERMARK,  Johan  Per,  Swedish  painter; 
bom  June  3,  1822,  at  Stockholm  ;  studied  at  the 
Stockholm  Academy.  He  was  at  first  a  soldier, 
but  accompanied  his  father  to  Italy  in  1845,  and 
after  study  at  the  Diisseldorf  Academy  he  became 

97 


A  BIOGRAPHICAL  DICTIONARY  OF 


a  pupil  of  Couture  in  Paris.  He  painted  military 
and  historical  Bubjects  besides  portraits ;  was 
elected  a  member  of  the  Stockholm  Academy  in 
1874.     He  died  at  Stockholm  in  September  1889. 

SODERMARK,  Olaf  Johan,  painter,  was  born 
at  Stockholm  in  1790.  He  was  an  officer  in  the 
Swedish  Army,  and  served  in  several  campaigns 
before  he  decided  upon  an  art  career.  In  1819  lie 
left  the  army,  and  later  went  to  Munich  to  study, 
and  eventually  to  Rome.  He  was  a  successful 
portraitist,  and  also  painted  many  pleasing  genre 
pictures.  In  the  Stockholm  Gallery  there  are  two 
pictures  by  liim,  a  bust  portrait  of  the  German 
artist,  Franz  Riepenhausen,  and  a  study  of  an 
Italian  girl,  '  La  Grazia.'  His  last  work  was  a 
portrait  of  Jenny  Lind.     He  died  in  1848. 

SODERINI,  Mauro,  painter,  practised  at  Flo- 
rence in  the  18th  century.  He  was  a  pupil  of 
Giovanni  dal  Sole.  In  the  church  of  San  Stefano 
at  Florence  there  is  by  him  a  '  Raising  of  a  Dead 
Child  by  S.  Zanobio.' 

SODOMA,  II.     See  Bazzi. 

SOENS,  Jan,  born  at  Bois  le  Due  about  the 
year  1553,  was  first  instructed  by  Jakob  Boon, 
but  afterwards  became  a  scholar  of  Gillis  Moes- 
taert  Under  that  master  he  made  great  progress, 
and  was  considered  one  of  the  most  promising 
young  artists  of  his  time.  He  travelled  to  Italy, 
where  he  was  employed  by  the  Pope,  and  by 
several  of  tlie  Roman  nobility,  in  the  embellish- 
ment of  their  palaces.  He  passed  some  time  at 
Parma,  in  the  service  of  the  duke.  His  manner 
was  animated,  and  the  figures  he  introduced  into 
his  landscapes  were  well  drawn  and  handled.  He 
died  at  Parma  in  1611. 

SOERENSEN,  Carl  Fredekik,  Danish  painter  ; 
bom  February  8,  1818,  at  Besserby,  near  Copen- 
hagen ;  studied  at  the  Copenhagen  Academy.  In 
1846,  and  repeatedly,  he  went  for  long  voyages  on 
board  Danish  ships  of  war,  and  he  also  travelled 
in  Germany,  England,  France,  and  Italy.  In  1869 
he  was  appointed  Professor.  His  '  An  der  Kiiste 
von  Jutland'  and  'Islandische  Kuste'  are  in  the 
Copenhagen  Gallery,  while  the  Stockholm  and 
Christiania  Art  Galleries  contain  examples  of  his 
work.     He  died  at  Copenhagen,  Jannary  24,  1879. 

SOEST,  or  ZOEST,  Gerard,  a  native  of  West- 
phalia, was  born  early  in  the  17th  century.  He 
visited  England  some  time  before  the  Restoration, 
with  an  established  reputation  as  a  portrait  painter. 
His  heads  are  animated,  in  bold  relief,  yet  highly 
finished.  His  draperies  were  usually  of  satin,  in 
the  manner  of  Terburg  ;  but  he  enlarged  his  style 
on  seeing  the  works  of  Vandyck.  He  was  more 
successful  in  his  portraits  of  men  than  women. 
He  executed  a  portrait  of  the  Lord  Mayor  Sheldon 
and  Dr.  John  Wallis.     He  died  in  London  in  1681. 

SOEST,  Jarens  von.     See  Jarends. 

SOETE.     SeeZUTMANN. 

SOGGI,  NiccoLo,  painter,  born  at  Florence  in 
1480,  was  a  disciple  of  Pietro  Perugino.  He 
painted  in  the  style  of  his  instructor.  His  chief 
residence  was  at  Arezzo,  where  some  of  his  works 
are  preserved  in  the  churches.  In  La  Madonna 
delle  Lagrime  a  '  Nativity  '  represents  him  fairly. 
In  1550  he  was  at  Rome,  and  working  for  the 
Pope.     He  died  at  Arezzo  in  1554. 

SOGLIANI,  Giovanni  Antonio,  painter,  born  at 
Florence  in  1492,  was  a  pupil  of  Lorenzo  di  Credi, 
whose  style  he  imitated,  as  may  be  seen  in  his 
'  Burial  of  Christ,'  in  the  Berlin  Museum.  He  also 
copied  the  manner  of  Fra  Bartolommeo,  notably  in 

98 


a  '  Miraculous  Conception,' with  Saints,  formerly  m 
Santa  Maria  Nuova,  Florence.  One  of  his  earliest 
works  was  a  '  S.  Martino,'  in  Or  San  Michele, 
Florence.  In  1521  he  painted  the  '  Martyrdom 
of  S.  Arcadius,'  in  S.  Lorenzo.  It  is  a  good  study 
of  the  nude,  but  with  no  originality.  In  conjunc- 
tion with  Andrea  del  Sarto  and  Sodoma,  he  painted 
a  series  of  subjects  behind  the  high  altar  of  the 
Pisan  duomo.  At  Florence  there  are  several 
Madonnas  by  Sogliani  in  the  Accademia ;  a  St. 
Catherine  in  the  Torrigiani  Collection ;  also  a 
'  Christ  Washing  the  Apostles'  Feet,'  in  S.  M.  del 
Fosso,  Anghiari.     He  died  at  Florence  in  1644. 

SOGLIARI,  II.     See  Gatti. 

SOGNI,  Giuseppe,  an  Italian  painter,  bom  in 
1797.  He  studied  at  the  Brera,  in  Milan,  under 
Pacetti  and  Sabatelli,  and  went  to  Rome  for  further 
instruction  in  1830.  He  was  a  member  of  the 
Milan  Academy,  and  held  the  post  of  Professor  at 
Bologna  from  1834  to  1839,  and  from  1839  at  the 
Brera.  He  occasionally  painted  portraits,  but 
devoted  himself  chiefly  to  historical  pictures,  the 
best  known  of  which  are  the  following: 

Columbus  Embarking  at  Pales.     (1829.) 

The  Death  of  Eaphael. 

The  Eape  of  the  Sabines.     (1831.) 

Susannah.    [    Adam  and  Eve. 

Return  of  the  Milanese  after  Legaano.     (1837.) 

Last  Hours  of  Beatrice  Cenci. 

Frescoes  in  S.  Pietro  al  Rosario,  Novara. 

In  the  Milan  Hospital  there  are  portraits  of  various 
benefactors  by  him. 

SOHN,  liARL  Ferdinand,  historical  and  portrait 
painter,  born  at  Berlin  in  1805,  studied  first  at  the 
Berlin  Academy,  and  then  in  the  private  ateher  of 
W.  Sobadow,  whom  he  accompanied  to  Diisseldorf 
in  1826.  After  a  visit  to  the  Netherlands,  he  went 
in  1830  to  Italy.  In  1832  he  was  appointed  teacher, 
and  in  1838  professor  at  the  Diisseldorf  Academy. 
He  was  an  excellent  portrait  painter,  especially  of 
women  ;  the  best  of  his  portraits  being  that  of  the 
Countess  Monti,  now  in  the  Wallraf  Museum, 
Cologne.  He  was  also  particularly  successful  as 
a  painter  of  the  nude.  Of  his  pictures  we  may 
name  : 


The  Two  Leonoras. 
Romeo  and  Juliet. 
Vanita.s. 

(Berlin  Gallery.) 

(Do.) 

(Do.) 

(Do.) 


Diaua  in  the  Bath.  | 

The  Judgment  of  Paris.    I 
The  Sisters,  | 

Girl  playing  the  Lute. 
Hylas  seized  by  "Water  Nymphs, 
Kinaldo  and  Armida. 
Portrait  of  a  Young  Lady. 

He  died  at  Cologne  in  1867. 

SOIGNIE,  Jacques  Joachim  de,  painter,  born 
at  Mons,  1720,  studied  in  Paris,  and  practised  for 
a  time  at  Lyons.  He  finally  settled  in  his  native 
town,  where,  in  the  Museum,  an  '  Annunciation,' 
an  '  Adoration  of  the  Shepherds,'  '  Episodes  in  the 
Life  of  Madame  de  Chantal,'  and  other  works  of  his, 
are  to  be  seen.     He  died  in  1783. 

SOITZ,  G,  C,  a  German  engraver,  who  flourished 
about  the  year  1530.  He  executed  some  of  the 
portraits  for  the  '  Templum  Honoris,'  published  at 
Vienna  in  the  above-mentioned  year. 

SOI  US,  Philippe.    See  Soye. 

SOJARO,  II.     See  Gatti. 

SOKOLOFF,  Peter,  painter,  flourished  at  St. 
Petersburg  in  the  18th  century.  He  studied  in  Rome 
under  Battoni,  and  painted  historical  and  mytho- 
logical subjects.  He  was  assistant  professor  at  the 
Academy  at  St.  Petersburg,  where  he  died  in  1791. 

SOKOLOW,  Peter  Petrovitsch,  Russian 
painter ;    born   in   1821 ;    a   member  of  the  St. 


ANDREA  SOLARIO 


/hlnfitailgl  pholj] 


CHRISTOFOIxO  LONGONO 


\_Xdltona!  GalUty 


PAINTERS  AND  ENGRAVERS. 


Petersburg  Academy,  and  well  known  throughout 
Russia  as  a  genre  painter  of  distinction.  Among 
his  works  we  may  mention  :  '  Landkutsche,' 
'  Dorfbegrabniss,'  '  Reise  im  Winter,'  and  '  Der 
Betrunkene.'  He  obtained  a  Paris  gold  medal  in 
1889.     He  died  in  November  1899. 

SOLARIO,  Andrea,  born  circa  1460,  died  circa 
1630.  "  To  M.  Ottone  Mundler,"  says  Morelli,  "  be- 
longs the  credit  of  throwing  light  on  the  character 
of  this  artist."  The  same  author,  in  his  '  Delia  Pit- 
tura  Italiana,'  published  in  1897,  further  remarks  : 
"  On  account  of  the  disagreement  between  existing 
writers  concerning  the  most  important  artist  of  the 
Lombardo-Milanese  School,  I  permit  myself  to 
speak  of  him  at  some  length."  This  disagreement 
referred  to  by  Morelli  is  amply  borne  out  by  a 
perusal  of  the  various  Dictionaries  of  Art.  Andrea 
Solario,  Salario,  Andrea  Mediolensis,  of  Milan, 
del  Gobbo,  or  Gobbo  of  Milan,  has  been 
confused  with  another  Milanese  artist,  Andrea 
Salai.  He  has  been  called  a  pupil  of  Leonardo  or  of 
Gaudenzio  Ferrari.  Burckhardt,  in  the  '  Cicerone,' 
speaks  of  the  influence  of  Mantegna  in  his  earlier  ; 
of  Luini  in  his  later  works.  The  date  of  his 
birth  is  variously  stated,  as  is  also  the  place  of  his 
decease.  The  most  disputed  point,  however,  con- 
cerns his  visit  to  Naples,  said  by  Calvi  to  have 
taken  place  about  1513,  in  company  with  Andrea  da 
Salerno  (Andrea  del  Sarto  ?),  upon  which  occasion 
he  received  a  commission  to  paint  eighteen  scenes 
from  the  life  of  St.  Benedict  for  the  convent  of 
San  Severino,  and  a  '  Descent  from  the  Cross  '  for 
the  church  of  S.  Domenico  Maggiore.  In  the  face 
of  such  conflicting  testimony,  that  of  Signor  Morelli 
has  the  advantage  of  being  recent  and  concise. 
The  family  of  this  artist,  which  comprised  among 
its  members  more  than  one  architect  and  sculptor, 
came  from  tlie  village  of  Solaro  in  the  Province  of 
Como,  and  settled  at  Milan  in  the  first  half  of  the 
fifteenth  century.  Here  Andrea  was  born  about 
1460.  On  the  pictures  painted  during  his  absence 
from  his  native  city  he  signs  himself  Andrea 
Mediolensis ;  the  nickname  Gobbo  was  given  to 
liis  brother  Cristoforo,  the  sculptor,  by  reason  of 
his  deformity  ;  and  he,  many  years  older  than 
Andrea,  appears  to  have  stood  in  loco  parentis 
to  the  subject  of  this  narrative.  The  superb 
modelling  of  the  heads  in  Andrea's  pictures  (in 
which  respect  he  more  nearly  than  any  other 
Lombard  master  approaches  the  standard  of  Leo- 
nardo) is  probably  due  to  his  early  training,  and 
it  is  curious  that  with  this  sculpturesque  style  liis 
rendering  of  "  hands "  should  be  inferior  to  that 
of  many  of  his  contemporaries.  His  earliest  known 
works,  the  '  Madonnas '  in  the  Brera  and  Poldi 
Pezzoli  Collections  at  Milan,  bear  the  impress  of 
Milanese  influence,  probably  that  of  Bartolommeo 
Suardi  called  II  Bramantino.  The  two  single 
figures  of  saints  in  the  last-named  collection, 
though  belonging  also  to  his  early  period,  differ 
considerably  in  style,  for  '  St.  Catharine  '  is  Lom- 
bard, 'St.  John'  Leonardesque.  In  the  year  1490 
the  brothers  travelled  to  Venice,  and  there,  under 
the  influence  of  Giovanni  Bellini  and  Antonello  da 
Messina,  Andrea  painted  the  fine  'Portrait  of  a 
Venetian  Senator,'  hitherto  regarded  as  the  work 
of  one  of  these  elder  artists  (Nat.  Gall.,  London). 
About  three  years  later,  Cristoforo  and  Andrea 
returned  to  Milan,  and  the  altar-piece  for  St.  Pietro 
Martire  at  Murano,  given  by  Eugene  Beauharnais 
to  the  Brera,  was  probably  painted  during  a  second 
visit  to  the  city  of  the  Lagoons.     The  subject  of 

H  3 


this  picture  is  the  '  Virgin  between  St.  Joseph  and 
St.  Jerome,'  and  the  style  has  given  rise  to  much 
controversy.     Crowe    and   Cavalcaselle   see  in  it 
the  influence  of  the  Florentine  School  of  Andrea 
Verrocchio,    and    compare   the   landscape   in   the 
background  with  those  of  Previtali,  a  Bergamasi^ue 
painter,  at  that  time  fifteen  years  of  age.     Signor 
Morelli,  on  the  other  hand,  is  of  opinion  that  the 
general  characteristics  are  Leonardesque,  and  that 
the  Madonna  resembles  those  of  Boltrafiio.     Mr. 
Berenson  describes  it  as  based  on  the  study  of 
Alvise  Vivarini,  in  which  opinion  he  is  supported 
by  other  art   critics   of    the   modern   school.     It 
would  therefore  appear  that  Florentine,  Lombard, 
Milanese,  and  Venetian  influences  united  to  form 
this  artist's  style,  whilst  in  some  of  his  later  pic- 
tures that  of  the  Flemish  School  of  Antwerp  is 
strikingly  apparent.     Three   portraits — that   of  a 
lady,  in  the   possession  of  the  Marchese  d'Adda 
(.Milan),  of  a  Milanese  gentleman,  Giovanni  Cliris- 
toforo  Longono  (Nat.  Gall.,  London),  and  of  Charles 
d'Amboise  (Louvre) — were  probably  painted  be- 
tween the  years  1503  and  1505.     This  last-named 
picture,  attributed  to  Solario,  was  once  supposed  to 
be  Louis  XII.,  but  the  assumption  that  it  represents 
Charles  d'Amboise,  at  one  time  French  lieutenant 
at  Milan,  is  confirmed  by  the  landscape,  a  range  of 
snowy  Alps,  as  seen  from  that  city.     This  picture 
is  very  delicately  executed,  but   the  surface   has 
been  destroyed  by  a  heavy  coat  of  varnish.     On 
the  recommendation  of  Charles  de  Chaumont,  or 
i'iamonte,  as  he  was  called  in  Italy,  Andrea  Solario 
received  an  important  commission  from  Cardinal 
Georges  d'Amboise,  a  wealthy  and  ambitious  eccle- 
siastic.    This  was  the  decoration  of  a  chapel  in 
the  Cliateau  Gaillon,  destroyed  in  the  Revolution 
of  1793.     The  Cardinal  had  endeavoured  to  secure 
the  services  of  Leonardo,  but  the  latter,  immersed 
in  hydraulic  experiments  and  the  fortification  of 
Milan,  refused  his  ofler.     So  highly  was  the  work 
of  Italian  artists  appreciated  in  France,  that  Andrea 
and  his  assistant  received  for  the  expenses  of  their 
journey  seventy  crowns,   and  for  a  year's  wages 
three  hundred  and  seventy  livres,  wliile  the  French 
workers  were  only  paid  four  sous  a  day.    Whether 
Solario  lingered  on  in  France  after  the  completion 
of  his  labours  at  the  Cha,teau  Gaillon  is  unknown,but 
the  '  Madonna  of  the  Green  Cushion  '  (Louvre)  was 
probably  painted   at  this  time.     It  has  been  sug- 
gested that  he  may  then    have   paid   a   visit   to 
Antwerp,  and  thus  come  under  that  Flemish  in- 
fluence which  is  so  strongly  marked  in  such  pictures 
as  'Christ  carrying  the  Cross'  (Borghese  Palace), 
the   '  Repose   in  Egypt,'    and    the  '  Ecce    Homo,' 
both    in    the    Poldi    Pezzoli    Collection   (Milan). 
About  the  year  1515  he  received  a  commission  to 
paint  the  '  Assumption  of  the  Virgin '  as  an  altar- 
piece  for  the  new  Sacristy  at  the  Certosa  of  Pavia. 
He  died,  leaving  it  unfinished,  and  the  work   is 
said   to   have   been   completed   and    restored    by 
Bernardino  Campi  in  1576.     Three  other  portraits 
at  Milan  may  with  some  degree  of  certainty  be 
attributed  to  Andrea  Solario :  '  Cesare  Borgia,'  in 
the  Casa  Castel  Parco,  styled  a  Raphael ;  '  Cancel- 
Here  Morone,'  in  the  possession  of  the  Duca  Scotti, 
hitherto  given  to  Leonardo  ;  and  the  equestrian 
portraitof 'Massimiliano  Sforza,'inthe  Casa  Perego. 
This  last  was  in  bad  condition,  but  has  been  care- 
fully restored.     There  are  some  drawings  by  this 
artist  in  the  Ambrosiana  at  Milan,  and  at  Venice 
is  the  pen-and-ink  sketch  for  the  'Assumption' 
at  Pavia,  taken  apparently  from  a  design  by  his 

99 


A  BIOGRAPHICAL  DICTIONARY  OF 


brother  Cristoforo.  Besides  the  important  ques- 
tion as  to  whether  Andrea  Solario  executed  those 
frescoes  at  Naples,  described  aR  "  belonging  to  the 
close  of  the  fifteenth  century,  and  as  showing 
Venetian  and  Ferrarese  influence,"  another  dis- 
puted point  concerning  this  artist  is  at  present 
before  the  world,  with  respect  to  a  'Madonna'  in 
the  possession  of  Mr.  Asher  Wertheimer.  Tliis 
picture,  though  possessing  the  recognized  charac- 
teristics of  Andrea  Solario,  and  having  moreover  a 
certain  resemblance  to  a  painting  of  the  same  sub- 
ject in  the  Brera,  has  on  it  a  signature,  apparently 
genuine,  Antonhts  di  Solario  Venetus  pinx. 
Bergamo.  Galhry.     Kcce  Homo. 

Brescia.  Oallery.     Christ  bearing  His  Cross. 

„  ,,  Monk  adoring  Christ. 

London.  Kational  Gall.     Portrait  of   Giovanni   Christo- 
foro  Longoiio. 

„  „  Portrait  of  a  Venetian  Senator. 

„      Exors.  of  Wick-  )  g^  jj       Magdalen. 
ham  Flower,  j  j      -^ 

„        Earl  of  North-  I  y^^^  ^^^  pm  j_ 

„  ^-^"-Jf-  ^-  I  Virgin  and  Cliild. 

Wayne,  j        " 
„       A.  Wertkei'mer.     Madonna  and  Child. 
Milan.  Brera.     Madonna. 

^^  „  The  Redeemer. 

„         Virgin  between  St.  Joseph  and 
St.    Jerome.      (Signed    and 
dated  1495.) 
„  Foldi  Fezzoli.     St.  Catharine. 

J,  ,,  St.  John  the  Baptist. 

^^  ^,  Virgin,  lufant,  and  St.  Joseph, 

,1  ,,  A  Riposo.     (Dated    1515 ;    bis 

last  known  work.) 
Paris.  Louvre.     The  Virgin  of  the  Green  Pillow. 

„  „  Portrait  of  Charles  d'Amboise. 

„  The  Crucifixion. 

„  „  TheHeadofSt.JobntheBapti.st. 

Pavia.  Certosa.     Altar-piece— The  Assumption. 

Peters-       Leuchtenhurg  1  Virgin  and  Child  with  the  infant 

burg.  Gallery,  j      St.  John. 

Kome.  Borqhese.     Christ  on  the  way  to  Calvary. 

A.W. 
SOLARIO,  Antonio  da,  called  Lo  Zingaro, 
painter,  was  born  about  1382,  either  at  Venice,  or 
at  Civita  di  Penna,  near  Chieti,  or  according  to 
Dominici,  at  Abruzzo,  where,  like  Quentin  Metsys, 
he  followed  the  trade  of  a  blacksmith  till  he  was 
seventeen,  when  he  fell  in  love  with  a  daughter  of 
Colantonio  del  Fiore,  and  became  a  painter  in  order 
to  win  her  affections.  He  became  a  pupil  of  Lippo 
Dalmasii  in  Bologna,  and  then  visited  the  princi- 
pal cities  of  Italy,  studying  under  Vivarini  in 
Venice,  Bicci  in  Florence,  Galassi  in  Ferrara,  and 
the  works  of  the  old  masters  in  Rome.  He  after- 
wards returned  to  Naples,  married  the  lady  of  his 
choice,  and  distinguished  himself  as  a  painter. 
Among  his  best  works  are  twenty  frescoes  in  a 
court  of  the  convent  of  San  Severino,  Naples,  from 
the  life  of  S.  Benedict.  A  '  Madonna  with  Saints,' 
in  the  Museum,  an  'Ascension  of  Christ,  with 
Saints,'  in  the  church  of  Monte  Oliveto,  and  the 
following  pictures  in  galleries,  may  also  be 
named : 

Dresden.  Gallery.    Portrait  of  a  Young  Prince. 

„  „  Portrait  of  a  Young  Princess. 

(Frohahly  the  portraits  of  Alphonso  V.,  King  of  Arragon, 
iSicily,  and  Naples^  and  of  Joanna  11.^  Queen  of  Naples.) 

Munich.  Finakothek.  S.  Ambrose  in  Episcopal  Dress. 

„  „  S.  Louis,  Bishop  of  Toulouse. 

Naples.  Museum.  Madonna  with  Saints. 

„  Monte  Oliveto.  Ascension  of  Oiirist. 

Paris.  Louvre.  A  Madonna. 

Solario  died  at  Naples  in  1456. 

100 


SOLDI,  Andrea,  portrait  and  history  painter, 
was  born  at  Florence  about  1682.  After  a  visit 
to  the  Holy  Land,  he  came  to  England,  about, 
1735.  He  was  a  good  draughtsman,  and  found 
considerable  employment  as  a  portrait  painter,  but 
was  very  thriftless.     He  died  soon  after  1766. 

SOLE,  DAL.    See  Dal  Sole. 

SOLEMACKEK,  J Frans,  (Soolemaker.)  a 

landscape  and  cattle  painter,  of  whom  little  is 
known.  He  lived  at  the  same  time  as  Wynants, 
Ruisdael,  and  Berchem.  It  is  supposed  that  he 
was  a  pupil  of  the  last,  but  of  that  there  is  no 
proof.  He  imitated  Berchem  in  the  grouping  and 
forms  of  his  cattle  ;  but  in  handling  he  was  with- 
out the  freedom  of  that  master  ;  his  shadows  are 
black,  and  the  general  appearance  of  his  pictures 
heavy.  He  painted  cows,  sheep,  and  goats  better 
than  horses.  His  pictures  are  generally  of  small 
dimensions,  always  on  panel,  and  a  good  specimen 
may  be  a  locum  tenens  for  a  Berchem.  There  is  a 
good  example  of  liis  art  in  the  Hague  Museum. 

SOLERI,  Giorgio,  painter  and  sculptor,  and  a 
nativeof  Alessandria,  flourished  in  the  16tli  century. 
He  was  probably  a  disciple  of  Bernardino  Lanini, 
whose  daughter  he  married,  though  he  did  not 
adopt  his  style.  He  worked  at  the  Escurial  for 
Philip  II.  of  Spain.  As  a  painter  of  portraits  he 
holds  a  respectable  position.  An  altar-piece,  in  the 
church  of  theConventuali,at  Alessandria, represent- 
ing the  Virgin,  to  whom  SS.  Augustine  and  Francis 
are  recommending  the  city  of  Alessandria  ;  and  a 
S.  Lorenzo  kneeling  before  the  Virgin,  with  a 
group  of  three  Angels,  in  the  church  of  the 
Domenicani,  at  Casale,  which  is  signed  with  his 
name,  and  dated  1573,  are  his  chief  works  as  a 
painter  of  religious  subjects.     Soleri  died  in  1687. 

SOLFAROLO,  II.     See  Tavella. 

SOLIMENA,  Fkakcesco,  (Solimene,)  called 
l' Abate  Ciccio,  was  born  at  Nocera  de  Pagani,  a 
small  town  about  eighteen  miles  distant  from 
Naples,  in  1657.  He  was  the  son  of  Angelo 
SoLlMENA,  an  obscure  painter,  who  had  been  a 
disciple  of  Cavaliere  Massimo.  Angelo  had  his 
son  instructed  in  classical  learning,  and  the  boy 
is  said  to  have  often  passed  whole  nights  in  the 
study  of  poetry  and  philosophy.  In  spite  of  this 
assiduous  application  he  managed  to  cultivate  his 
talent  for  art,  and  Cardinal  Orsini,  afterwards 
Pope  Benedict  XIII.,  happening  to  pass  through 
Nocera,  saw  his  designs,  and  persuaded  his  father 
to  indulge  his  son's  inclination.  After  studying  two 
years  under  his  father  he  went  to  Naples  in  1674, 
where  he  first  became  a  disciple  of  Francesco  di 
Maria,  but  left  that  master  to  enter  the  school  of 
Giacomo  del  Po.  He  afterwards  went  to  Rome, 
where  the  works  of  Pietro  da  Cortona,  Lanfranco, 
II  Calabrese,  Guido,  and  Carlo  Maratti  were  bis 
models.  Among  his  best  works  are  a  series  of 
frescoes  in  S.  Paolo  Maggiore,  others  at  Naples 
and  Monte  Cassino,  and  the  '  Last  Supper,'  in  the 
refectory  of  the  Conventuali  at  Assisi.  In  1702 
he  was  commissioned  by  Philip  V.  of  Spain  to 
paint  some  pictures  for  the  Ro3'al  Chapel  at  Madrid. 
He  was  the  friend  of  Luca  Giordano,  and  formed 
many  scholars,  among  whom  the  best  known  are, 
Seb.  Conca,  C.  Giaquinto,  N.  M.  Rossi,  S.  Capella, 
and  F.  di  Mura.  Soliraena  was  also  a  poet  and 
musician.     He  died  at  Naples  in  1747. 

Dresden  Gallery.  Death  of  S.  Francis. 

„  „  Abtluction  of  Hippodamia. 

jy  „  Paris,  Juno,  and  Iris. 

jj  ^  Sophonisba,  &c. 


ANDREA  SOLARIO 


Bivgi  photi)'\ 


[Bnni  Gallery,  Milan 


THE  REDEEMER 


PAINTERS  AND   ENGRAVERS. 


Florence.  Vffizi .     His  own  Portrait. 

^j  ,,        Diana  at  the  Bath. 

Genoa.  Due.  Pal.     Triumph  of  Mordecai. 

Madrid.  Museum.     The  Brazen  Serpent. 

^^  „  Prometheus. 

Milan.  Brera.     Meeting  of  a  King  and  Pope. 

J,  „        Establishment   of  a   Keligious 

Order. 
Naples  -y.  Paolo.    Conversion  of  S.  Paul. 

„  „  Fall  of  Simon  Magus. 

„  Gesii  Nuovo.    Heliodorus    driven    from    tho 

Temple. 
Paris.  Louvre.     The  same  Subject. 

Kome.  CoTsini.    Entry  of  Christ  into  Jerusalem. 

„  „  S.  John  the  Baptist. 

Vienna.  Gallery.     Cephalus     and     Aurora,    and 

several  others. 

SOLIS,  Francisco  de,  a  Spanish  painter,  born 
at  Madrid  in  1629,  was  instructed  in  art  by  liis 
father,  Juan  de  Solis,  a  little-known  painter. 
Intended  at  first  for  the  Church,  he  was  led  to  take 
up  art  in  earnest  by  the  success  of  a  picture  painted 
in  his  eighteenth  year,  which  attracted  the  notice 
of  Philip  IV.,  who  directed  him  to  put  his  name 
and  age  upon  it.  This  brought  him  into  public 
favour,  and  he  obtained  much  employment.  When 
Queen  Louisa  of  Orleans  made  her  solemn  entry 
into  Madrid,  he  contributed  a  series  of  paintings 
representing  the  labours  oE  Hercules  to  the  decora- 
tion of  the  city  ;  but  the  work  which  established 
his  reputation  was  an  '  Immaculate  Conception  of 
the  Virgin,  with  the  Dragon  at  her  Feet'  For  many 
years  l3e  Solis  held  an  academy  in  his  house, 
to  which  all  young  artists  were  admitted  free 
of  expense,  to  draw  from  the  living  modeh  He 
wrote  an  account  of  the  lives  of  Spanish  painters, 
sculptors,  and  architects,  and  even  engraved  several 
of  their  portraits,  which  he  intended  to  publish, 
but  was  prevented  by  death.  This  manuscript  is 
now  lost.  He  died  at  Madrid  in  1684.  He  left 
an  enormous  collection  of  books,  prints,  and  draw- 
ings, which  he  intended  to  bequeath  to  the  Spanish 
nation,  but  as  he'  never  executed  the  necessary 
deeds  all  his  treasures  had  to  be  sold. 

SOLIS,  NiCLAS,  engraver  of  the  16th  century,  n 
son  or  brother  of  Virgil  Solis,  published  fifteen  plates 
representing  the  Marriage  Festivities  of  Duke 
William  V.  of  Bavaria  and  the  Duchess  Renata  of 
Lorraine  in  1568. 

SOLIS,  Virgil,  a  German  engraver,  born  at 
Nuremberg  in  1514.  He  engraved  both  on  wood 
and  on  copper,  chiefly  from  his  own  designs.^  The 
copper-plates  worked  in  the  early  part  of  his  life 
resemble  those  of  Hans  Sebald  Beham,  but  when  he 
afterwards  engraved  after  the  Italian  masters,  he 
adopted  a  style  more  open  and  spirited.  His 
woodcuts  are  similar  to  those  of  Jost  Amnion, 
with  respect  both  to  composition  and  execution. 
His  works  prove  him  to  have  been  a  man  of 
ability,  though  his  design  is  formal  and  stifE. 
He  has  been  sometimes  called  a  little  master. 
His  prints  are  very  numerous,  amounting  to 
upwards  of  eight  hundred.  He  usually  marked 
them  with  a  cipher  composed  of  a  V.  and  an  S., 

thus,  \;?.  or '^.      He   died   in   1562.     Among 

his  multifarious  productions  are  the  following: 


A  variety  of  small  Engravings  on  copper,  representing 

hunting  subjects  ;  dated  1541. 
A  set  of  vases  and  ornaments  for  goldsmiths.     1541. 
The  Marriage  of  Cupid  and  Pysche,the  Assembly  of  tha 

Gods,  Paruassus,  and  other  subjects  ;  after  Raphael. 
The  Bath  of  the  Anabaptists  ;  copy  from  Aldegrever. 


WOOD-CUTS. 

Several  sets  of  small  historical  subjects  from  the  Bibls. 
The  Metamorphoses  of  Orid,  in  one  hundred  and  seventy 

cuts  ;  published  at  Frankfort  in  1563. 
A  set  of  cuts  for  Nicholas  Eeuser's  Emblems.     15S1. 
Another  for  the  Emblems  of  Andreus  Alciatus.     1581. 
A  series  of  French  Kings  from  Pharamond  to  Henry  III. 

SOLLAZZINO  II,  a  Florentine  painter,  whose 
real  name  seems  to  have  been  Giulano  da  Monte- 
lupo,  was  born  about  1470.  In  1506  he  was  work- 
ing at  Pistoja,  in  conjunction  with  G.  B.  Volponi. 
He  painted  an  altar-piece  for  S.  Slefano  at  Serra- 
valle,  and  other  works  in  Casole  and  Pisa,  in  which 
latter  city  he  died  in  1543. 
SOLOMAYOR,  Luis  de.  See  Sotomayor. 
SOLOMON,  Abraham,  painter,  was  bom  in 
London  in  1824,  went  in  1838  to  an  Art  School  in 
Bloomsbury,  and  in  1839  was  admitted  to  the 
Academy  schools.  From  1843  he  contributed  pic- 
tures to  the  Academy  and  British  Institute.  His 
'  Waiting  for  the  Verdict,'  exhibited  at  the  Academy 
in  1857, and  its  sequel,  'Not  Guilty'  (1859),  estab- 
lished his  reputation.  Other  pictures  by  hira 
which  have  become  well  known  through  engrav- 
ings are,  '  Third  class— the  Parting,'  and  '  First 
class— the  Return'  (1854),  '  Le  Malade  Imagin- 
aire,'  and  'Consolation'  (1861).  His  last  ex- 
hibited work  was  '  The  Lost  Found,'  and  he  died 
still  young  at  Biarritz  in  1862. 

SOLOSMEO,  II,  an  Italian  sculptor  and  painter, 
whose  real  name  appears  to  have  been  Antonio  di 
Giovanni,  was  a  scholar  of  Andrea  Sansovino  the 
sculptor,  and  of  Andrea  del  Sarto.  In  the  church 
of  Badia  di  San  Fedele  at  Poppi  there  is  a  panel  of 
the  Virgin  and  Child,  with  SS.  John  Baptist, 
Francis,  Sebastian,  and  John  Gualberto,  inscribed: 
Antonius  Solvsmevs  scultoe  itf.n.xxvii. 

SOLSERNDS.  This  name,  with  the  date  1267, 
appears  on  a  large  mosaic  of  the  Byzantine  type, 
representing  Christ  enthroned,  with  the  Virgin 
and  S.  John,  on  the  exterior  of  the  Cathedral  at 
Spoleto. 

SOLVYNS,  Frans  Baltasar,  a  marine  painter, 
born  at  Antwerp  in  1760,  was  a  pupil  of  Querte- 
mont.  After  gaining  several  prizes  at  the  Antwerp 
Academy  he  went  to  Paris,  and  studied  under 
Vincent.  His  sea-pieces,  however,  are  not  numer- 
ous, as  his  fondness  for  travel  led  him  to  visit 
India,  where  he  found  materials  for  some  three 
hundred  coloured  plates  illustrating  the  occupa- 
tions, festivals,  and  costumes  of  the  Hindoos,  which, 
when  published,  were  unsuccessful,  and  involved 
their  author  in  pecuniary  embarrassment.  He  died 
in  1824.  One  of  his  marine  pieces,  a  view  from 
Ostend,  is  in  the  palace  at  Vienna. 

SOLY,  Arthur,  an  obscure  English  engraver, 
who  lived  about  the  year  1683.  He  was  employed 
by  Robert  White,  and  engraved  a  few  portraits, 
among  which  are  the  following  : 

His  own  Portrait ;  dated  1683. 
Richard  Baxter,  Presbyter.     1683. 

Tobias  Crisp,  D.D.,  Kector  of   Brinckworth,  'Wiltshire  ; 
prefi.-sed  to  his  Sermons.     16S9. 

He  died  about  1695. 

SOMER,  Jan  van,  (Someren,)  was  probably  a 
relation  of  Mathys  van  Somer,  and  flourished 
about  the  year  1675.  He  engraved  some  indifferent 
mezzotints  from  the  Dutch  painters  and  a  few 
portraits  ;  among  them  the  following  : 

The  Duchess  of  Mazarine. 
Charles  Louis,  Elector  of  Bavaria. 

101 


A   BIOGRAPHICAL  DICTIONARY   OF 


Michael   Adriansz   de   Ruyter,  Dutch  Admiral ;   after 

Karel  I)n  Jardin. 
Peasants  drinking  ;  after  A.  Both. 
Dutch  Boors  regaling  ;  after  A.  Ostade. 
A  Flemish  Concert ;  after  Tenters. 
A  Conversation  ;  after  Terhurg. 
A  Drinking  Party  ;  after  his  own  design. 
Abraham  and  the  Angels  ;  after  Pieter  Lastman. 

He  usually  marked  his  plates  with  the  following 

monogram    -ffi- . 

SOMER,  Mathys  van,  (Sommeren,)  a  Dutch 
engraver,  who  flourished  about  the  year  1660.  He 
engraved  a  set  of  landscapes,  marked  with  the 
initials  M.  V.  S.,  and  his  name  is  affixed  to  a  small 
oval  portrait  of  John  Ernest,  dated  1666.  There 
are  many  other  portraits  by  him ;  among  them, 
that  of  Oliver  Cromwell. 

SOMER,  Paul  van,  painter,  was  born  at  Antwerp 
about  the  year  1676,  and  according  to  Van  Mander, 
resided  at  Amsterdam  in  1604,  with  his  brother 
Bernard,  where  they  practised  portrait  painting 
with  great  success.  Paul  Van  Somer  soon  after- 
wards visited  England,  where  the  great  majority  of 
his  works  are  now  to  be  found.  His  portrait  of 
the  Lord  Chamberlain,  William,  Earl  of  Pembroke, 
is  in  St.  James's  Palace.  He  painted  two  pictures 
of  James  I.,  one  of  which  was  engraved  by  Vertue  ; 
Queen  Anne  of  Denmark,  and  Chancellor  Bacon 
(at  Patishanger),  Lord  Falkland  and  Lady  Mande- 
ville,  and  the  Earl  of  Arundel  and  his  wife  (in  the 
collection  of  the  Duke  of  Norfolk).  Van  Somer 
died  about  the  age  of  forty-live,  and  was  buried  in 
St.  Martin's-in-the-Fields,  as  appears  by  the  regis- 
ter, January  5,  1621  :  Paulus  Vansomer  pictor 
eximius  sepulius  fuit  in  ecclesid.     Works  : 

Hampton  Court.  Christian  IV.  of  Denmark. 

„  James  I. 

„  Anne  of  Denmark.      1617. 

„  James  I.  in  his  rohes. 

„  Aime  of  Denmark.    Ditto. 

London.    Nat.  For.  Gall.     James  I. 

„  „  Anne  of  Denmark. 

„  „  Lord  Bacon. 

„  „  Countess  of  Southampton. 

Lady  Morton  with  two  other  ladies.     1615. 
Sir  Simon  Weston.     1608. 
The  Marquis  of  Hamilton. 

SOMER,  Padl  van,  engraver,  apparently  of  the 
same  family  with  Jan  van  Somer,  was  born  at  Am- 
sterdam in  1649.  After  residing  and  working  some 
time  in  P;iris,  be  came  to  Ensrland,  and  settled  in 
London,  where  he  died  in  1694.  He  etched,  en- 
graved, and  was  one  of  the  first  to  scrape  in  mezzo- 
tint.    The  following  are  his  best-known  prints  : 

Portrait  of  the  Duke  of  Bavaria  and  bis  Secretary.  1670. 

The  Countess  of  Meath  ;  after  Mignard. 

Tobit  burying  the  Dead  Hebrew  ;  after  Seb.  Bourdon. 

Moses  saved  from  the  Nile ;  after  IV.  Poussia. 

The  Baptism  of  Christ ;  after  the  same. 

The  Fable  of  the  Old  Man  and  his  Ass ;  a  set  of  six 
etchings ;  after  Gnffier. 

The  Four  Times  of  the  Day  ;  from  his  own  designs. 

The  Adoration  of  the  Shepherds  ;  from  the  same. 

The  Holy  Family  ;  from  the  same. 

SOMERS,  Loois  J.,  a  Flemish  genre  painter, 
born  at  Antwerp  in  181.3.  He  was  a  pupil  of  De 
Braekeleer  ;  his  best-known  works  are  a  '  Village 
School,'  and  '  Monks  Chanting.'     He  died  in  1880. 

SOMERVILLE,  Andrew,  painter,  was  born  at 
Edinburgh  about  1803.  He  was  educated  at  the 
Trustees'  Academy.  He  practised  at  Edinburgh, 
and  in  18.31  became  an  associate  member  of  the 
,Royal  Scottish  Academy.  In  the  following  year 
he  was  promoted  to  the  full  membership,  but  died 
102 


shortly  after  his  election,  in  1833.  His  most  popular 
pictures  were  '  Flowers  of  the  Forest,'  and  '  The 
Bride  of  Yarrow.' 

SOMMERAU,  LUDWIG,  draughtsmaii  and  en- 
graver, but  better  known  in  the  latter  capacity,  was 
born  at  Wolfenbiittel  in  1750.  He  was  a  scholar 
of  Mechel  at  Basle.  He  engraved  portraits  ;  pic- 
tures after  Guido,  Domenichino,  and  Guercino ; 
also  a  series  of  twenty  plates  after  the  tapestrieB 
designed  by  Raphael  and  his  pupils.  These  were 
published  at  Rome  in  1780,  and  in  London  in  1837, 
with  six  additional  plates,  and  letterpress  by 
Cattermole. 

SOMMEREN.     See  Somer. 

SOMPEL,  Pieter  van,  (SOMPELEN,)  engraver, 
born  at  Antwerp  about  the  year  1600,  was  taught 
engraving  by  Pieter  Soutman,  whose  style  he 
followed.  His  plates  are  neat,  particularly  his 
portraits.  The  following  prints  by  him  may  be 
named : 

Paracelsus;  after  Sovtman. 

Henry,  Cotmt  of  Nassau ;  after  the  same. 

Philip  of  Nassau,  Prince  of  Orange  ;  after  the  same. 

The  Emperor  Ciiarles  V. ;  after  Rubens. 

Cardinal  Ferdinand,  brother  to  PhiUp  IV.  and  Governor 
of  the  Netherlands  ;  after  Vandi/ck. 

Isabella  Clara  Eugenia,  Infanta  of  Spain  ;  after  the  same. 

Gaston,  Duke  of  Orleans  ;  after  the  same. 

Margaret,  his  consort ;  after  the  same. 

Philip  the  Good,  Duke  of  Burgundy  ;  after  J.  van  Eyck. 

Frederick  Henry  of  Nassau  ;  after  G.  Monthorst. 

Clirist  with  the  Disciples  at  Emmaus  ;  after  Ruhens. 

The  Crucifixion  ;  after  the  same. 

Juno  and  Ixion  ;  after  the  same. 
The   only   certain    date   in   connection   with   this 
master  is  1643,  on  his  'Christ  at  Emmaus,'  afler 
Rubens. 

SON,  Jan  van,  (ZOON,)  the  son  of  Joris  van 
Son,  was  born  at  Antwerp  about  the  year  1650. 
Walpole  calls  him  Francis.  He  painted  similar 
subjects  to  those  of  his  father,  by  whom  he  was 
instructed.  He  came  to  England  when  young,  and, 
having  married  the  niece  of  Robert  Streater,  suc- 
ceeded to  a  great  portion  of  her  uncle's  business. 
He  painted  flowers,  fruit,  dead  game,  vases,  curtains 
fringed  with  gold,  Turkey  cari^ets,  and  similar  ob- 
jects. He  composed  well  ;  his  touch  was  free  and 
spirited,  and  his  colouring  rich  and  transparent. 
He  is  said  to  have  died  in  London  in  1700,  but  the 
date  is  uncertain ;  some  would  put  it  as  late  as 
1723.  Pictures  by  him  are  to  be  found  at  Augs- 
burg, Brussels,  Dresden,  and  Lille. 

SON,  Joris  van,  (or  ZOON,)  born  at  Antwerp  in 
1622,  excelled  in  painting  flowers  and  fruit.  His 
pictures  are  well  composed,  his  handling  easy,  and 
his  colour  transparent.  His  death  occurred  about 
1667. 

SON,  Nicolas  de,  (Antoine  ?)  a  native  of  Rlieims, 
who  flourished  about  the  year  1628,  imitated  the 
style  of  Callot  with  success.  We  have  several 
etchings  by  him  from  Callot's  designs,  as  well  as 
some  from  his  own  compositions.  Among  them 
we  may  name  : 

A  set  of  small  Landscapes  with  figures  and  buildings. 

The  Village  Fair  ;  after  Callot. 

The  Companion,  representing  a  street,  with  a  coach  in 
the  back-ground,  and  several  female  figures. 

Fa9ade  of  St.  Nicaise,  Rheims. 

Porch  of  Rheims  Cathedral. 

SONDER.     See  Cranach. 

SONDERLAND,  Johann  Baptist  Wilhelm 
Adolph,  painter  and  etcher,  born  at  Diisseldorf  in 
1805,  was  a  pupil  of  the  Academy  there,  under 
Cornelius  and  Schadow.     He  produced  many  genre 


PAINTERS  AND  ENGRAVERS. 


pictures,  which  are  distinguished  by  humour  and 
by  fertility  of  invention.  He  designed  illustrations 
for  Reinick's  '  Painters'  Songs,'  for  Immermann's 
'  Munchausen,'  and  for  several  religious  works.  He 
also  etched  a  few  plates.  He  died  at  Diisseldorf 
in  1878. 

SONDERMANN,  Hermann,  German  painter ; 
born  October  19,  1832,  at  Berlin  ;  studied  at  the 
Academy  and  with  Professor  Otto,  at  Berlin  ;  also 
worked  at  Antwerp  and  Diisseldorf  with  Schadow 
and  Jordans.  After  some  years'  (1859-61)  residence 
at  Berlin  he  settled  at  Diisseldorf;  painted  por- 
traits and  genre,  as,  for  instance,  'Unsere  Helden' 
(Wiesbaden  Gallery),  'Das  Kaffeekranzchen,'  'In 
der  Schule,'  &c.     He  died  at  Diisseldorf,  April  2, 

1901. 

SONJE,  Jak,  painter,  born  at  Rotterdam,  flour- 
ished in  the  17th  century.  In  1646  he  entered  the 
Painters'  Guild  at  Delft,  but  left  that  city  about 
1654.  He  painted  large  mountain  landscapes  in 
the  Italian  manner,  with  blue  skies,  silver  clouds, 
dark  foregrounds,  and  figures  of  men  and  animals. 
He  also  painted  Rhine  scenery  in  the  style  of 
Sachtleven.  Pictures  by  Sonje  are  to  be  found 
in  the  Museums  at  the  Hague,  Rotterdam,  and 
Augsburg.     He  died  in  1691. 

SONMANS.     See  Sunjian. 

SONNE,  JoRGEN  Valentin,  a  Danish  painter, 
born  at  Birkerod  in  Zealand,  June  24,  1801,  was 
destined  for  the  army,  but  soon  abandoned  a  mili- 
tary career  for  art.  He  received  his  first  teaching 
at  the  Copenhagen  Academy,  and  came  out  as  a 
painter  of  military  life  and  of  animals.  In  1829  he 
went  to  Munich,  and  studied  for  a  time  under  Hess, 
and  three  years  later  he  made  his  first  journey  to 
Rome,  where  he  remained  for  some  time,  painting 
principally  scenes  from  popular  life.  On  his  return 
to  his  native  country  he  painted  a  large  number  of 
peasant  pictures,  but  the  Schleswig  campaign  of 
1848  furnished  him  with  subjects  for  many  works 
in  his  early  manner.  He  painted  the  frescoes  on 
the  exterior  of  the  Thorwaldsen  Museum.  He  be- 
came a  member  of  the  Academy  in  1846,  and  was 
decorated  with  the  Dannebrog  Order  in  1852. 
Works  : 

Copenhagen.       Gallery.    Tyrolese  defending  themselves 
among  their  Mountain.?. 
„  The  Attack  on  Diippel,  June  5, 

1848. 
„  „  The  Battle  of  Isted. 

„  The     Sortie     from    Fredericia, 

July  6,  1849. 
{And  seven  others.) 

SONNIUS,  Hendrik,  a  Dutch  painter,  who 
flourished  at  the  Hague  about  the  middle  of  the 
17th  century,  and  was  a  pupil  of  Jan  van  Rave- 
Bteijn.  He  was  one  of  the  forty-seven  artists  who, 
in  1656,  founded  the  Pictura  Society.  He  is  said 
to  have  come  to  England,  and  to  have  died  here 
at  an  advanced  age. 

SONVILLE,  Da  (or  SONNEVILLE).  See 
Dassonville. 

SOOLEMAKER.     See  Solemacker. 

SOPOLIS,  an  ancient  painter,  mentioned  by 
PHny  as  flourishing  at  Rome  about  eiglity-seven 
years  before  Clirist. 

SOPRANI,  Raffaello,  born  at  Genoa  in  1612, 
of  a  noble  family,  was  an  amateur  landscape  painter, 
and  the  author  of  a  biography  of  the  Ligurian  artists. 

SORDICHIO.     See  BiAOio,  Bernardino. 

SORDILLO  DE  I'EREDA,  El.    See  Dell' Abco. 

SORDO,  Giovanni  del,  called  Monb  da  Pisa. 


an  Italian  painter  of  the  18th  century,  a  pupil  of 
F.  Barooci.  He  practised  at  Pisa,  and  had  the 
repute  of  a  skilful  colourist. 

SORDO,  GiROLAMO,  also  called  Girolamo  Pado- 
vano  and  Girolamo  del  Santo,  is  credited  with 
various  frescoes  of  a  semi-Brescian,  semi-Paduan 
class,  in  churches  at  Padua  and  elsewhere.  Traces 
of  him  occur  as  late  as  1646. 

SORDO  DI  SESTRI,  II.     See  Travi. 

SORDO  D'URBINO.     See  Viviani. 

SORE,  Nicolas  de.     See  Son. 

SORELLO,  MionEL,  a  native  of  Spain,  bom  at 
Barcelona  about  1700,  established  himself  at  Rome, 
where  he  learned  engraving  from  Jakob  Frey.  He 
was  one  of  the  engravers  employed  on  the  '  An- 
tiquities of  Herculaneum,'  published  in  1757 — 
1761.  He  engraved  several  prints  afterthe  Italian 
masters,  but  his  principal  work  is  a  set  of  eight 
plates  from  Raphael's  tapestries  in  the  Vatican. 
He  died  in  1765. 

SORENSEN,  Carl  Friedrich,  a  Danish  painter, 
born  at  Samsoe  in  1818.  He  painted  chiefly  land- 
scapes and  sea-pieces.  For  the  study  of  marine 
effects  he  made  trips  to  the  Mediterranean  and 
elsewhere  in  Danish  war-ships.  He  won  a  wide 
reputation,  exhibiting  in  London  and  Paris  as  well 
as  his  native  city.  He  became  professor  of  painting 
in  the  Aoademj'  of  Copenhagen,  in  which  city  he 
died  in  1879.  In  the  Copenhagen  Gallery  there  are 
three  sea-pieces  by  him,  and  in  that  of  Stockholm 
two. 

SORGH,  Hendrik  Martenszoon  Pokes,  (or 
Z0R6,)  painter,  was  born  at  Rotterdam  in  1621. 
He  was  the  son  of  Martin  Rokes,  the  master  of  the 
passage-boat  from  Rotterdam  to  Dordrecht,  who,  on 
account  of  his  care  and  attention  to  passengers 
and  to  the  commissions  he  received,  acquired  the 
appellation  of  Sorgh,  or  Careful,  and  the  name 
descended  to  his  son.  Having  shown  an  early 
disposition  for  art,  the  latter  was  sent  to  Antwerp, 
and  placed  under  the  tuition  of  Teniers  the  younger. 
He  is  also  said  to  have  studied  under  Willem  de 
Buytenweg.  His  pictures  represent  conversations, 
fairs,  fish-markets,  and  the  interiors  of  Dutch  apart- 
ments, with  figures  regaling  and  amu.sing  them- 
selves, in  some  of  which  he  sometimes  imitated  the 
style  of  Adriaan  Brouwer.  The  general  character 
of  his  works  is  a  mixture  of  features  from  the  above- 
mentioned  artists.  His  colour  is  warm,  his  impasto 
thin  and  fused.     He  died  in  1682.     Works : 


Amsterdam. 

R.  Mufieuvi. 

A  Fish  Market. 

Augsburg. 
Brunswick. 

Dresden. 

Gallery. 
»» 

Peasants  Smoking. 
Labourers  in  the  Vineyard. 
Peasants  Conversing. 
A  Cook  and  Fishermen. 

London. 

KTat.  Gall. 

Boors  at  Cards. 

?T 

Mau  and  Woman  Drinking 

Munich. 

Gallery. 

A  Peasant  Family. 
An  Ale-house  Interior. 

Paris. 

Louvre. 

A  Kitchen. 

Petersburg. 

Hermitaje. 

Peasants  Quarrelling. 
A  Sea-piece. 

SORIANI,  Niccolo,  a  Cremonese  painter  of  the 
15th  century,  was  the  maternal  uncle  of  Garofalo, 
to  whom  he  gave  some  early  lessons. 

SORIAU,  Daniel,  (or  Peter,)  a  German  painter 
of  the  17th  century,  details  of  whose  life  are  un- 
known. At  the  Copenhagen  Gallery  there  is  a 
still-life  picture  by  him  of  flowers,  fruit,  and 
gold  and  silver  plate. 

SORLAY,  JEROME,  a  French  painter  of  the  17th 
century,  the  pupil  of  Mignard.     In  1664  he  painted 

103 


A  BIOGRAPHICAL   DICTIONARY  OF 


a    '  Christ    appearing  to   S.   Peter   on   his   Flight 
from  Rome.' 

SORNIQUE,  Dominique,  a  French  engraver, 
born  in  Paris  in  1707.  He  was  a  pupil  of  Charles 
Simoneau,  whose  style  of  engraving  he  followed 
with  considerable  success.  His  vignettes  and  other 
plates  for  books  are  neatly  executed.  He  also  en- 
graved several  portraits  and  other  subjects,  among 
them  the  following : 

The  Cardinal  de  Eiohebeu  ;  after  Nantmxl. 

Jean  Louis,  Due  d'Epernon  ;  after  the  same. 

Louis  de  Bourbon,  Admiral  of  France ;  after  Mignard. 

Marshal  Saxe  ;  after  Eiyaud. 

Diana  and  her  Nymphs  ;  after  Correggio. 

Danae  ;  afte7-  the  same. 

The  Rape  of  the  Sabines  ;  after  L.  Giordano. 

Peasants  regaling  ;  after  Teniers. 

He  died  in  1756. 

SOROKIN,  Paitl  Semenovich,  Russian  painter 
and  Academician  ;  was  born  in  1831.  He  devoted 
himself  to  sacred  subjects,  and  died  in  1886. 

SORKl,  PiETRO,  born  at  S.  Gusmd,  near  Siena,  in 
1556,  was  for  some  time  a  scholar  of  Arcangelo 
Salimbeni,  but  afterwards  studied  at  Florence  under 
Cavaliere  Passignano,  whose  daughter  he  married. 
He  adopted  the  eclectic  system  of  his  father-in-law, 
whom  he  accompanied  to  Venice,  where  he  improved 
his  manner  by  studying  Paul  Veronese.  Less  facile 
than  Passignano,  his  colour  is  more  durable,  and 
his  drawing  more  correct.  He  afterwards  went  to 
Genoa  and  Rome,  and  died  in  1622. 

SOSIAS,  a  Greek  vase  painter,  some  of  whose 
works  are  still  extant. 

SOTO,  JnAN  DE,  a  Spanish  historical  painter, 
born  at  Madrid  in  1692,  was  one  of  the  best 
scholars  of  Bartolom^  Carducho,  and  assisted  him 
in  several  of  his  works.  While  still  very  young, 
he  was  selected  to  decorate  in  fresco  the  queen's 
dressing-room  in  the  palace  of  the  Pardo.  He  ob- 
tained a  considerable  reputation  with  his  pictures 
in  oil  ;  they  were  much  in  the  style  of  his  master, 
pure  in  design,  and  harmonious  in  colour.  The 
expectations  he  had  raised  were,  however,  dis- 
appointed by  his  early  death  at  Madrid  in  1620. 

SOTO,  Lorenzo  de,  born  at  Madrid  in  1634, 
was  the  pupil  of  Benito  Manuel  de  Agiiero,  whose 
manner  he  imitated.  He  painted  landscapes,  with 
hermits  and  saints  and  religious  figure  subjects. 
Among  the  latter  a  scene  from  the  life  of  Sta.  Rosa 
served  as  an  altar-piece  in  the  church  of  the  Atocha 
at  Madrid.  In  consequence  of  an  attempt  by 
government  to  tax  artists,  Soto  abandoned  painting 
and  retired  to  Yecla,  in  Murcia,  where  he  became 
collector  of  the  royal  rents.  During  this  period  of 
retirement,  he  painted  landscapes,  which  are  praised 
by  Palomino.  After  an  absence  of  about  fifty  years 
he  returned  to  Madrid,  but  his  works  were  looked 
at  with  indifference,  and  he  was  reduced  to  selling 
them  in  the  public  places  for  a  subsistence.  He 
died  in  1688. 

SOTOMAYOR,  Luis  de,  born  at  Valencia  in 
1635,  became  a  disciple  of  Esteban  March,  the 
painter  of  battles,  but  refusing  to  submit  to  that 
master's  caprices,  he  left  him  for  the  school  of 
Juan  Carreno,  at  Madrid.  After  ?.  rime  he  returned 
to  Valencia,  where  he  enjoyed  much  success.  He 
had  a  fine  talent  for  composition,  and  was  an  excel- 
lent colourist.  He  painted  a  '  St.  Christopher  in 
company  with  Christ  and  the  Virgin,'  and  a  '  St. 
Augustine,'  for  the  Augustine  nunnery  ;  and  for 
the  Carmelites,  two  large  scenes  from  the  legend  of 
the  miraculous  discovery  of  an  image  of  the  Virgin, 
104 


called  '  La  Morenita,'  which  is  an  object  of  their 
great  veneration.    He  died  at  Madrid  in  1673. 

SOUBEYRAN,  Pierre,  bom  at  Geneva  in  1697 
(1708).  He  resided  several  years  in  Paris,  where 
he  engraved  some  of  the  plates,  after  Bouchardon, 
of  antique  gems  in  the  king's  cabinet,  for  a  publi- 
cation of  Mariette's.  He  also  engraved  a  variety 
of  plates  for  books  after  Cochin  and  others.  Re- 
turning to  Geneva  in  1750,  he  there  practised  as  an 
architect,  and  became  director  of  the  art  school. 
The  following  prints  by  him  may  also  be  named : 

The  Portrait  of  Peter  the  Great ;  after  Caravaque. 
The  Arms  of  the  City  of  Paris  ;  after  Bouchardon. 
The  Fair  Maid  of  the  Village ;  after  Boucher. 

He  died  in  1775. 

SOUCHON,  FRANgois,.born  at  Alais  in  1786,  was 
a  pupil  of  David,  and  a  friend  of  Sigalon.  He 
painted  heroic  landscapes  and  historical  pictures, 
and  made  many  excellent  copies  from  the  great 
masters.  Many  of  his  works  are  at  Lille,  where  he 
was  director  of  the  Painting  School  from  1836 
to  1857,  and  where  he  died  in  1857. 

SOUKENS,  Jan,  a  Dutch  painter  and  engraver 
of  the  16th  century,  bom  at  Bommel.  He  was  a 
pupil  of  Jan  Vorsterman,  and  painted  river  views 
with  figures.  His  two  sons,  Gisbert,  1685 — 1760, 
and  Hendrik,  1680 — 1711,  were  also  landscape 
painters. 

SOULARY,  Claude,  painter,  born  at  Lyons  in 
1792,  was  a  pupil  of  Rdvoil  and  of  Gros.  For 
forty-seven  years  he  directed  the  School  of  Art  at 
Saint  Etienne,  where  he  died  in  1870,  and  where 
there  are  several  of  his  pictures  in  the  museum. 

SODL]feS,EuatoE  Edouard,  painter, bom  in  Paris. 
He  was  a  frequent  exhibitor  of  landscapes  in  oil  and 
water-colour  at  the  Salon  from  1831  to  1872.  He 
died  in  1876. 

SOUMANS.     See  Sunman. 

SOUMY,  Joseph  Paul  Marius,  engraver,  was  bom 
at  Puy  Arablay  in  1831,  learned  drawing  in  Lyons, 
and  then  entered  the  atelier  of  Guy,  and  afterwards 
that  of  Bonnefond,  studying  engraving  under  Vi'^ert 
at  the  same  time.  In  1852  he  went  to  Paris,  and 
worked  first  in  the  Ecole  des  Beaux  Arts,  and  then 
under  Henriquel  Dupont.  In  1855  he  visited  Italy, 
where  he  painted  portraits,  landscapes,  and  genre 
pictures,  and  made  several  copies  after  Raphael, 
Michelangelo,  &c.  He  also  etched  a  portrait  after 
Giorgione,  and  Titian's  Francis  I.  On  his  return 
to  France  he  led  a  desultory  life,  engraving  for 
printsellers,  and  then  for  Flandrin,  for  whom  his 
chief  work  was  the '  Entry  of  Christ  into  Jerusalem.' 
Depression  caused  by  a  disease  of  the  eyes  led  him 
to  commit  suicide  at  Lyons  in  1863. 

SOUNES,  William  Henry,  was  born  in  London 
in  1830.  In  1855  he  became  modelling  master  in 
the  Birmingham  School  of  Art,  and  later,  head 
master  of  the  Sheffield  School  of  Art.  He  died  at 
Sheffield  in  1873.  In  the  South  Kensington  Museum 
there  are  two  architectural  drawings  by  him. 

SOURCHES,  Louis-FRANgois  on  Bouchet, 
Marquis  de,  Grand  Provost  of  France,  and  amateur 
engraver,  was  bom  at  the  commencement  of  the 
17th  century.  He  handled  the  point  in  the  manner 
of  Stefano  Delia  Bella,  of  whom  it  is  supposed  he 
took  lessons  during  the  residence  of  that  artist  in 
Paris  from  1640  to  1649.  In  the  Bibliotheque  at 
Paris  are  preserved  nineteen  pieces  by  him.  They 
are  copies  after  Delia  Bella,  and  are  so  exact  that 
proofs  before  letters  have  been  mistaken  for  the 
originals.  This  series  is  entitled  '  Diuerses  figures 
et  Maneiges  de  Cheuaux  Gravtopar  le  Marquis  df> 


PAINTERS  AND  ENQRAVBBS, 


Sourches.  According  to  le  Ph-e  Leiong  (Biblio- 
thfique  Historique  de  France),  this  artist  engraved 
the  portrait  of  Madame  de  Nevelet,  the  wife  of  a 
counsellor  of  the  Parliannent  of  Paris ;  but  it  has 
escaped  the  researches  of  Dumesnil.  That  writer, 
however,  (torn,  ii.)  describes  a  series  of  twelve 
plates  by  Sourches  which  are  still  rarer  than  those 
in  the  French  National  Library.  Their  titles  are 
as  follows : 


1.  Le  Berger. 

2.  L'Homme  de  Quality. 

3.  La  Tfame  de  Qualite. 

4.  Le  Duel. 

5.  Le  Porte-drapeaii. 

6.  La  Marchande  de  vieiuc 

Habits. 


7.  Le  Depart  pour  la 

Chasse. 

8.  Le  Promeneur. 

9.  Le  PScheur. 

10.  Le  Puits. 

11.  Les  Ramoneurs. 

12.  Le  Batelier. 


One  of  these,  No.  4,  was  ascribed  by  Marietta  and 
Gersaint  to  Delia  Bella  himself. 

SOUKLEY,  J^RflME.     See  Sorlay. 

SOUTMAN,  PlETER,  a  Dutch  painter  and  en- 
graver, born  at  Haarlem  in  1590,  was  a  pupil  of 
Rubens,  and  is  said  to  hare  painted  historical  sub- 
jects and  portraits  with  considerable  success,  par- 
ticularly at  the  courts  of  Berlin  and  Warsaw.  He 
was  one  of  the  group  of  Flemish  engravers  attached 
to  the  school  of  Rubens,  who  carried  the  vigour  of 
the  art  to  a  height  scarcely  equalled  by  any  other 
workers  with  the  burin.  We  have  several  plates  by 
him  from  his  own  designs,  and  from  those  of  Rubens 
and  other  masters.  He  appears  to  have  aimed  at 
giving  a  striking  effect  to  his  plates,  by  keeping 
the  lights  broad  and  clear  ;  but  by  carrying  this 
notion  too  far,  many  have  a  slight,  uniinished  ap- 
pearance. The  following  are,  perhaps,  his  best 
plates : 

The  Fall  of  the  Rebel  Angels  ;  after  Rubens. 

The  Kout  of  Seanacherib ;  after  the  same. 

Christ  giving  the  Keys  to  St.  Peter ;  from  a  drawing 

by  Rubens,  after  Raphael. 
The  Draught  of  Fishes  ;  after  the  same. 
Consecration  of  a  Bishop  ;  after  the  same. 

SOWERBY,  James,  an  English  natural-history 
draughtsman  and  engraver,  born  in  1757.  He  pub- 
lished, and  illustrated  many  works,  which  obtained 
for  him  a  good  reputation.  He  lived  in  Paris  in 
the  latter  part  of  his  career,  and  died  in  1822.  The 
following  are  some  of  the  works  on  which  he  was 
engaged : 

'  The  Florist's  Delight.'     1791. 

'  English  Botany.'     1790—1820. 

'English  Fungi.'     1797. 

'  British  Mineralogy.'     1801-17. 

'  Elucidation  of  Colours.'     1809. 

Sir  J.  E.  Smith's  '  Icones  Pictse  Plantarum.'     1790-3. 

Ditto, '  Spicilegium  Botanicum.'     1791-2. 

Ditto, '  Botany  of  New  Holland.'     1793. 

Shaw's  '  Zoology  of  New  Holland.' 

SOYE,  Philippe  pe,  (or  De  Serious),  a  Dutch 
engraver,  born  1638,  died  after  1567,  pupil  of 
Cornelis  Cort  ;  engraved  the  compositions  of 
Italian  masters  and  a  series  of  twenty-eight 
portraits  of  popes. 

SOYER,  Emma,  nee  Jones,  was  born  in  London 
in  1813.  Before  she  was  twelve  years  of  age  she 
had  drawn  more  than  a  hundred  portraits  from  life. 
In  1836  she  married  Soyer,  the  famous  chef-de- 
cuisine.  Besides  sketches  and  drawings  she  painted 
many  pictures.  Her  '  Jewish  Boy  selling  Oranges  ' 
was  engraved  by  Gerard.  Slie  died  in  London  in 
1842. 

SOYER,  Hans,  a  Flemish  painter,  practising  at 


Ypres  about  1323.  He  painted  the  portraits  of  the 
Count  and  Countess  of  Flanders  for  the  municipality 
of  Ypres,  for  which  he  received  the  sum  of  twenty 
sous  (16s.  %d.). 

SOYER,  Jean,  a  French  miniaturist,  who  prac- 
tised at  Tours  at  the  close  of  the  15th  century,  and 
was  employed  in  the  illumination  of  the  smaller 
Livre  dHeures  of  Anne  of  Brittany. 

SPACKMAN,  Isaac,  an  English  painter,  practis- 
ing about  the  middle  of  the  18th  century.  He  was 
best  known  as  a  painter  of  birds  and  animals.  He 
died  at  Islington,  January  7,  1771. 

SPADA,  Lionello,  born  at  Bologna  in  1576. 
His  parents  were  extremely  poor,  and  he  was 
placed  in  the  service  of  the  Carracci  as  a  colour 
grinder.  This  employment  gave  him  an  oppor- 
tunity of  picking  up  some  knowledge,  and  he 
showed  so  much  capacity  for  art,  that  his  masters 
admitted  him  into  their  academy.  His  progress 
was  rapid,  and  he  became  an  eminent  member  of 
the  Bolognese  school.  After  a  time  he  turned  to 
the  energetic  style  of  Caravaggio,  and  he  went  to 
Rome  to  study  under  that  master.  With  Cara- 
vaggio he  went  to  Naples  and  Malta,  afterwards 
visiting  Modena,  Ferrara,  and  Reggio.  On  his  re- 
turn to  Bologna,  he  painted  the  'Miraculous  Draught 
of  Fishes,'  for  the  refectory  of  S.  Procolo,  and  an 
altar-piece  in  the  cliurch  of  S.  Domenico,  which  is 
considered  his  best  performance.  The  latter  part 
of  his  life  was  passed  at  Parma,  in  the  service  of 
the  Duke  Ranuccio,  by  whom  he  was  patronized 
until  the  death  of  that  prince.  He  did  not  long 
survive  his  protector,  and  died  at  Parma  in  1622. 
He  sometimes  marked  his  pictures  with  a  sword, 
(in  Italian  Spada,)  crossed  with  the  letter  L. 
Works : 

Bologna.       S.  Domenico. 


,  S.  Michele  in  Bosco. 


S.  Jerome. 

S.  Donainic  burning  the  heret- 
ical books. 

Frescoes  from  the  Lives  of  S. 
Benedict  and  S.  Cecilia. 

Melchizedek  blessing  Abraham. 

Cupid. 

David  conquering  Goliath. 

His  own  Portrait. 

S.  Cecilia. 

Fortune-Teller. 

Madonna  with  S.  Francis. 

Cain  and  Abel. 

Christ  on  the  Cross. 

Ketum  of  the  Prodigal. 

Martyrdom  of  S.  Christopher. 

.iEneas  and  Anchises. 

A  Concert. 

St.  Jerome. 

The  Martyrdom  of  S.  Catha- 
rine. 

\  David  and  Abigail. 

Judith  and  Ho  lof ernes. 
Esther  and  Ahasuerus. 
The  Virtues. 
A  Concert. 


SPADA,  Lo.     See  Marescalco,  Pietro. 

SPAUARO,  Micco.     See  QARGinoLi. 

SPADEN,  Jan,  a  Flemish  painter  of  the  14th 
century,  who  practised  at  Louvain,  and  is  recorded 
in  the  town  registers,  under  the  sobriquet  of  Jan 
Oliepot  (oil-pot),  to  have  worked  for  the  Com- 
mune from  1364  onwards.  He  died  some  time  be- 
fore 1394.     His  son  Jan  was  also  a  painter. 

SPAENDONCK,  Cornelis  van,  brother  of  Gerard 
van  Spaendonck,  born  in  1756,  was  also  a  painter 
of  flowers.    He  was  chiefly  employed  at  the  Sfevres 

105 


J, 

Pinacoteca. 

Dresden. 

Gallery. 

Florence. 

Wzi. 

Jl.idrid. 

Museum, 

Modena. 

Gallery. 

Naples. 

1) 
Museum. 

Paris. 

Louvre. 

Parma.  Carmelite  Church. 

)' 

S,  Sepolcro. 

Reggio. 

Church  of  the 
Madonna. 

Rome. 

Pal.  Boryhese. 

A   BIOGRAPHICAL  DICTIONARY  OF 


porcelain  factory,  but  occasionally  painted  portraits 
in  oil.     He  died  in  1839. 

SPAENDONCK,  Gerard  van,  a  distinguished 
fruit  and  flower  painter,  was  born  at  Tilburgli  in 
Holland  in  1746,  and  studied  under  the  elder 
Herreyns  at  Antwerp.  At  the  age  of  twenty-four 
he  went  to  Paris,  where  for  some  time  he  painted 
miniatures,  and  fruit  and  flowers.  His  productions 
became  very  popular,  and  were  purchased  with 
avidity.  In  1793  he  was  lecturing  at  the  Jardin 
des  Plantes.  The  title-page  to  hia  '  Fleurs  dessin^es 
d'aprds  Nature'  informs  us  that  lie  was  a  member 
of  the  National  Institute,  and  Professor-Adminis- 
trator of  the  Museum  of  Natural  History  in  Paris, 
where  he  died  in  1822.  The  Fruit  and  Flower 
piece  by  him  in  the  Louvre  was  ia  the  collection  of 
Louis  XVI. 

SPAGIASI,  Giovanni,  an  Italian  painter,  born 
at  Reggio,  who  died  in  the  service  of  the  King  of 
Poland,  in  1730. 

SPAGIASI,  Pellegrino,  was  a  pupil  of  Fran- 
cesco Bibiena  ;  he  painted  interiors  and  perspective 
decorations,  and  also  worked  as  a  scene  painter. 
He  died  in  France  in  1746. 

SPAGNA,  Lo.    See  Giovanni  di  Pietro. 

SPAGNOLETTO.     See  Ribera. 

SPAQNUOLO.    See  Giovanni  di  Pietro. 

SPAGNUOLO,  Lo.   See  Crespi,  Giuseppe  Maria. 

SPAGNUOLO  Degli  PESCI,  Lo.  See  Herrera, 
Francisco  de. 

SPALTHOF,  N.,  a  Dutch  painter,  who  flourished 
about  the  year  1650.  He  is  said  by  Descampa  to 
have  visited  Italy,  and  to  have  studied  there  several 
years.  He  excelled  in  painting  fairs,  markets, 
carnivals,  and  merry-makings,  somewhat  in  the 
style  of  Theodoras  Helrnbrecker. 

SPANGENBERG,  Fhiedrich,  historical  painter, 
born  at  Gottingen  in  1843,  began  his  career  in 
Munich  under  Ramberg.  In  1861  he  went  to 
Weimar,  where  he  painted  the  '  Triumph  of  the 
American  Union'  for  the  Capitol  at  Washington. 
After  that  he  returned  to  Munich,  where  he  pro- 
duced his  '  Plundering  Vandals,'  and  his  '  Departure 
of  Geiserich  from  Rome  with  Eudoxia.'  He  met 
with  an  accident  in  going  up  Vesuvius,  and  died 
in  1874. 

SPANGENBERG,  Gustav  Adolf,  German 
painter;  born  February  1,  1828,  at  Hamburg,  was 
a  pupil  of  Kaufmann  at  Hamburg,  and  also  of 
Couture  and  Triqueti  in  Paris.  He  also  studied 
at  the  Hanau  Gewerbeschule  and  the  Antwerp 
Academy.  From  1855  to  1857  he  travelled  in 
Italy,  England,  and  Holland,  and  finally  established 
himself  at  Berlin.  He  painted  historical  and  genre 
subjects,  such  as  '  Luther  musicirend,'  '  The  Pied 
Piper  of  Hamelin,'  '  Walpurgisnacht,'_and  '  Luther 
at  Worms';  also  frescoes  which  are  in  the  Halle 
University.  He  was  a  professor  and  member  of 
the  Berlin,  Vienna,  and  Hanau  Academies,  obtain- 
ing the  Berlin  gold  medal  in  1876,  and  the  Vienna 
medal  in  1873.  He  died  at  Berlin,  October  19, 
1891. 

SPANGENBERG,  Louis,  German  painter, 
brother  of  the  above  ;  born  1824  at  Hamburg ; 
became  a  pupil  of  Eisenlohr  at  Karlsruhe,  and  also 
studied  with  Kirchner  at  Munich.  After  lengthy 
travel  in  Greece,  Italy,  Belgium,  En-land,  and 
France,  he  settled  at  Berlin,  where  as  a  landscape 
painter  he  became  well  known  by  such  works  as 
'Im  Engadin,'  'The  Akropolis,'  '  Osteria  in  Pied- 
raonte,'  and  others.  He  died  at  Berlin,  October 
17,  1893. 

106 


SPANZOTTO,  Martino.  This  painter  at  present 
shines  chiefly  with  a  reflected  glory,  since  he  was 
the  first  master  of  the  celebrated  Giovaimi  Antonio 
Bazzi  (Sodoma),  and  of  the  no  less  remarkable 
Defendente  Deferrari  of  Chivasso,  the  most  dis- 
tinguished painter  of  the  Piedmontese  School  in 
the  early  16th  centur3'.  The  founder  of  the 
Spanzotto  family  was  probably  Pietro  di  Capanigo 
— perhaps  an  artist,  though  this  is  uncertain — 
a  native  of  Varese,  who  settled  at  Casale  Mon- 
ferrato  before  1470.  We  learn  that  by  his  wife 
Orsolina  (of  what  family  we  know  not),  who  died 
in  August  1489,  he  had  four  sons,  Martino,  Fran- 
cesco, ViNCENZO,  and  Gabriele.  The  first  three  of 
these  appear  from  extant  documents  to  have  all 
been  artists,  though  Vinoenzo  was  also  a  monk.  The 
latter  decorated  the  Sacristy-presses  in  Sta.  Maria 
della  Grazie  at  Milan  ;  while  Gabriele,  also  a 
priest,  was  in  1502  elected  a  canon  of  the 
Cathedral  of  Casale,  and  Vicar-General  of  that 
diocese  from  1525,  until  his  death  on  October  28, 
1531.  A  portrait,  now  lost,  but  once  belonging 
to  the  Counts  d'Arco  of  Mantua,  of  the  unhappy 
Bianca  Maria  Gaspardone  (Madame  de  Challant), 
dressed  as  a  bride,  has  been  attributed  to  this 
Gabriele,  but  the  attiibution  is  doubtful,  and  it  is 
generally  supposed  that  the  painting  was  the  work 
of  Martino.  Padre  Bruzza,  on  the  strength  of  a 
document  dated  11th  of  June,  1528,  brings  forward 
a  son  of  Francesco,  whom  he  styles  Pier  Francesco, 
but  more  recent  authorities  are  unable  to  find  any 
trace  of  such  a  person. 

Martino  moved  from  Casale  to  Vercelli  on 
August  11,  1491,  and  leased  for  a  term  of  four, 
or  five  years,  from  Giovanni  Bartolommeo  of 
Conflentia,  a  house  and  a  shop  in  the  parish  of  Sta. 
Maria  Maggiore  in  that  city,  thus  becoming  a 
neighbour  of  the  Bazzi  family,  whose  famous 
scion  had  been  articled  to  him  for  seven  years, 
the  year  before  (November  20,  1490).  He  married 
Costantina,  daughter  of  one  Antonio  Pianta,  be- 
longing to  a  noble  family  from  Lauriano,  near 
Chivasso,  and  at  the  end  of  his  lease  would  seem 
to  have  returned  to  Casale,  where  he  died  some- 
time between  June  13,  1524,  and  November  11, 
1528.  He  appears  to  have  left  two  sons  :  Pier 
Antonio,  of  whom  presently,  and  Giovanni  Ambro- 
gio,  a  lawyer,  who  is  recorded  by  Angiolo  Salamoni 
in  his  '  Memorie  Storico  Diplomatiche  degli  Am- 
biasciatori,  incaricati  d'affari  che  la  citti  di  Milano 
invi6  a  diversi  principi '  as  having  in  1560  gone 
in  company  with  CamilloCastiglioni  on  an  embassy 
to  Philip  II.  of  Spain,  and  being  one  of  the  Causidici 
Collegiati  (members  of  the  Guild  of  Notaries)  of 
Milan  in  1562. 

Until  a  comparatively  recent  date  no  well- 
authenticated  work  of  Martino  Spanzotto's  was 
known  to  exist,  and  he  was  vaguely  spoken  of  as 
"an  unknown  painter  on  glass"  ;  but  in  1899  an 
undoubted  and  signed  work  ('Madonna  and  Child') 
was  acquired  by  the  Royal  Pinacoteca  at  Turin, 
where  it  now  hangs  (Room  2,  No.  30a).  Another 
'  Madonna  and  Child,'  attributed  to  the  Antica 
Sc^wla  Piemontese,  but  almost  certainly  also  by 
him,  is  to  be  found  in  the  Albertina  Collection  in 
the  same  city  (Room  4,  No.  150)  ;  and  other 
works  still  have  been  with  good  reason  assigned 
by  competent  authorities  to  him  and  his  scholars, 
though  as  yet  opinions  are  divided  upon  the  point ; 
the  most  remarkable  among  these  being  the 
curious  polyptych,  '  Genealogy  of  the  Madonna,' 
in  the  church  at  S.   Antonio  at  Casale :     and   a 


PAINTERS  AND  ENGRAVERS. 


•Nativity,'  with  Saints  and  otiier  subjectB,  in  the 
octagon  Baptistery  of  the  Cathedral  at  Chieri. 
Two  glass  lunettes,  probably  part  of  a  larger 
work,  still  preserved  at  the  Santuario  di  Crea 
in  Monferrato,  are  also  with  considerable  show  of 
probability  assigned  to  him,  and  are  the  only 
known  examples  of  the  branch  of  art  to  which — 
but  without  great  reason — he  has  been  generally 
supposed  to  have  devoted  most  attention.  The 
works  by  him  for  which  documentary  evidence 
exists  have  unfortunately  entirely  vanished.  They 
are  : 

A  polyptych,  erected  in  14S8  by  the  Tana  family  in 

their  mortuary   chapel  in  the  church  of   S.  Maria 

delle  Grazie  at  Chieri. 

The  decoration  of  a  chapel  in  the  church  of   S.  Paolo 

at  Vercelli,   commissioned  by  the  nohle  family  of 

Ajazza,    concerning   which    two   documents    dat^'d 

January  3,   1490,   and  January   11,  1492,  are  still 

extant. 

A  painting  representing    '  S.    Francis    receiving    the 

Stigmata,'  executed  for  Dorotea,  widow  of  Sigismondo 

Asiuari,  in    1524,    for   the    Franciscan   Church   at 

Casale.  R.H.H.C. 

-    SPANZOTTO,  Pier  Antonio.    This  artist,  son 

of  the  above  Martino,  was  working  from  January 

6,  1546,  to  the   end   of  December    1549,  in  the 

Castel  di  S.  Angelo  at  Rome.     He  is  mentioned 

in  a  deed,  dated  June  1,  1561,  among  the  earliest 

members  of  the  Academy  of  St.   Luke.     He  had 

two   daughters,  Costantina,  who  in   1667   married 

Pietro    Rignoni,   a   barber    from    Vogogna,   near 

Novara ;    and  Albina,  who  espoused  a  Florentine 

wood-carver,    Giuliano    di    Gazerini    or    Zazerini 

(perhaps  Porticini).  R.H.H.C. 

SPARMANN,K.\RlChristian,  landscape  painter, 
was  born  at  Meissen  in  1805.  He  became  the 
pupil  of  Arnold  at  Meissen,  and  of  Dahl  at  Dresden, 
and  teacher  of  drawing  to  Prince  Louis  Napoleon, 
in  Arenberg.  From  the  latter,  when  he  became 
Emperor  of  the  French,  he  received  a  pension.  He 
died  at  Dresden  in  1865. 

SPAKVIER,  Pierre  db,  a  French  painter,  born 
1660,  was  a  pupil  of  Cesare  Gennari  at  Bologna. 
He  painted  portraits  and  battle-pieces,  and  occa- 
sionally tlowers.  He  settled  at  Florence,  where  he 
died  in  1731. 

SPECCHI,  Alessandro,  an  Italian  engraver, 
who  flourished  from  1665  to  1706.  He  engraved 
a  set  of  plates  from  the  palaces  an<l  public  buildings 
of  Rome,  which  are  executed  in  a  spirited  style. 
These  engravings  were  published  by  Dom.  de  Rossi, 
in  1699.  Specchi  is  supposed  to  havedied  in  1710. 
SPECKLE,  Veit  Rudolph,  (SPECKLIN,)  an 
old  engraver  on  wood,  who  flourished  at  Strasburg 
about  the  year  1540.  He  executed  a  set  of  cuts  for 
Fuchsius's  '  Herbal,'  published  in  that  year,  with 
a  whole-length  portrait  of  the  author,  portraits  of 
Heinrich  Fullmaurer  and  Albrecht  Maher,  who  de- 
signed the  figures,  and  the  engraver's  own  portrait. 
SPECKTER,  Erwin,  painter,  was  born  at  Ham- 
burg in  1806.  He  worked  at  Munich  under  Cornelius, 
but  was  influenced  by  Overbeck  and  Genelli.  From 
Hamburg,  where  he  painted  his  '  Christ  and  the 
Samaritan  Woman  at  the  Well,'  he  went  in  1830 
to  Italy,  where  he  produced  a  '  Samson  and  Delilah,' 
and  '  "Three  Marys  at  the  Grave  of  Christ,'  which 
was  engraved  by  Scliriider.  In  his  leisure  he  wrote 
'Letters  of  an  Artist  from  Italy.'  He  died  at 
Hamburg  in  1835. 

SPECKTER,  Otto,  brother  of  Erwin  Speckter, 
was  bom  at  Hamburg  in  1807.  He  practised  as 
a  lithographer  and  book  illustrator.     In  the  latter 


branch  of  art,  the  following  are  his  best  works : 
Illustrations  to  Luther's '  Spiritual  Songs,'  Bellman's 
'  Epistles,'  Eberhard's  '  Hannchen  und  die  Kiicli- 
lein,"Pussin  Boots,' and  Klaus  Groth's'Quickborn,' 
which  last  is  considered  his  most  successful  achieve- 
ment.    He  died  at  Hamburg,  April  29,  1871. 

SPEECKAERT,  Hans,  or  Jan,  a  Flemish  painter 
of  the  16th  century,  a  native  of  Brussels,  where 
his  father  worked  as  an  embroiderer.  He  lived 
for  some  time  in  Italy,  and  worked  both  at  Rome 
and  Florence.  At  Rome  he  became  acquainted 
with  Arnold  Mytens,  and  a  close  friendship  sprang 
up  between  them.  He  died  at  Rome  about  1577. 
Van  Mander  calls  him  an  artist  of  great  merit. 

SPEECKAERT,  J.,  a  Flemish  painter,  born  at 
Mechlin  in  1748.  He  painted  flowers  and  fruit, 
and  practised  for  some  time  in  his  native  town, 
but  hved  towards  the  close  of  his  life  at  Brussels, 
where  he  died  in  1838. 

SPEER,  Martin,  (or  Michael,)  a  painter  and 
engraver,  was  born  at  Ratisbon  in  1700.  It  is 
said  that  he  became  a  disciple  of  Solimena  :  at  all 
events  he  imitated  his  manner,  and  engraved  some 
of  his  allegories  and  martyrdoms.  He  painted  seve- 
ral altar-pieces  and  historical  pictures,  and  there  are 
engravings  by  him  after  his  own  designs.  They 
are  signed  M-  Speer  inv.  el  fecit,  1742.  The  time 
of  his  death  is  uncertain,  but  Zani  puts  it  in  1762. 

SPELT.     See  Van  der  Spelt. 

SPENCER,  Frederick,  an  American  painter, 
born  at  Canistota,  U.S.A.,  in  1805.  He  studied  art 
in  his  native  village,  without  a  master.  About 
1830  he  settled  in  New  York  as  a  portrait-painter, 
where  he  met  with  much  success,  painting  many 
distinguished  persons.  He  became  a  meniber  of 
the  Academy  in  1848,  and  in  1853  he  retired  to 
Canistota,  where  he  practised  until  his  death  in  1876. 

SPENCER,  Jarvis,  (or  Gekvase,)  a  painter  in 
miniature  and  in  enamel,  who  flourished  about  the 
middle  of  the  last  century.  He  began  life  in 
domestic  service,  but  by  the  help  of  his  employer 
and  his  family,  developed  his  faculty  for  art,  and 
became  a  fashionable  painter  of  the  day.  He 
painted  on  ivory  and  in  enamel.  In  1762  he 
sent  some  enamel  portraits  to  the  exhibition  of  the 
Society  of  Artists,  and  some  fine  enamels  bearing 
the  initials  (?.  <S.  are  his  work.  He  etched  his 
own  portrait,  after  Reynolds,  a  plate  on  which  the 
name  George  Spencer  was  afterwards  erroneously 
placed.  Some  portrait  etchings  by  him  in  the 
British  Museum  prove  him  to  have  been  a  good 
draughtsman.     He  died  October  30,  1763. 

SPENCER,  Lavinia,  Countess,  (iiee  Bingham,) 
daughter  of  the  Earl  of  Lucan,  and  wife  of  the 
second  Earl  Spencer,  was  an  amateur  of  some 
ability.  Some  of  her  drawings  were  engraved, 
among  others  '  The  Orphan,'  by  Gillray,  and  '  New 
Shoes,'  by  Bartolozzi.     She  died  June  8,  1831. 

SPERANZA,  Giovanni,  an  Italian  painter  of  the 
16th  century.  The  dates  of  his  birth  and  deatli  are 
both  unknown,  though  he  was  probably  a  native  of 
Vicenza.  Vasari  states  that  both  he  and  Bar- 
tolommeo  Montagna,  with  whom  he  has  much  in 
common,  were  disciples  of  Mantegna,  but  there  is 
no  proof  of  their  personal  acquaintance  with  the 
Paduan  master.  The  church  of  S.  Giorgio,  at 
Velo,  in  the  province  of  Vicenza,  has  an  enthroned 
'  Virgin  and  Child  with  Saints  '  by  him  -,  and  in 
the  gallery  of  Vicenza  is  an  '  Assumption  of  the 
Virgin,  with  S.  Thomas  and  S.  Jerome  ' ;  this  latter 
is  a  reproduction  of  the  'Assumption,'  assigned  to 
Pizzolo,  in  the  Eremitani  Chapel,  Padua ;  both  are 

107 


A  BIOGRAPHICAL   DICTIONARY  OF 


in  tempera.  At  the  Casa  Nievo,  Vicenza,  is  an  oil 
painting  of  the  '  Virgin  and  Child.'  Other  paintings 
by  tliis  artist  may  be  found  at  Santa  Corona  and 
Santa  Chiara,  Vicenza,  and  in  the  Casa  Pioveni, 
Padua.  In  his  later  works  it  is  difficult  to  dis- 
tinguish his  hand  from  that  of  Montagna.  It  is 
likely  that  the  '  Madonna  with  the  Child  holding 
a  Strawberry '  in  the  National  Gallery,  and  there 
ascribed  to  Montagna,  isby  Speranza  ;  also  No.  174, 
in  the  Brera,  at  present  unascribed.  w.A. 

SPERANZA,  Giovanni  Battista,  born  at  Rome 
about  the  j'ear  1610,  was  a  disciple  of  Francesco 
Albano.  He  acquired  a  considerable  repute  as  a 
painter  of  history,  particularly  in  fresco.  In  a 
chapel  in  the  church  of  S.  Caterina  da  Siena,  there 
are  some  subjects  from  the  life  of  the  Virgin,  in 
fresco,  by  him  ;  and  in  the  Orfanelli  a  ceiling  re- 
presenting the  Passion  of  our  Saviour,  in  five  com- 
partments. Speranza  died  in  the  prime  of  life,  in 
1640. 

SPERLING,  HiERONTMns,  a  German  engraver, 
born  at  Augsburg  about  the  year  1695,  was  a  pupil 
of  Preissler,  at  Nuremberg,  and  engraved  some  of 
the  plates  for  a  work  on  the  churches  of  Vienna, 
published  by  J.  A.  Peffel,  in  1724.  He  also  en- 
graved some  of  the  plates  from  statues  in  the  gallery 
of  King  Augustus  of  Poland,  at  Dresden,  which 
were  published  as  a  collection  in  1733.  He  en- 
graved many  portraits,  chiefly  after  German  painters, 
and  a  set  of  '  Months  of  the  Year,'  with  a  frontis- 
piece.    He  died  in  1777. 

SPERLING,  JoHANN  Christian,  a  painter  of 
portraits  and  email  historical  subjects,  was  born 
at  Halle,  in  Saxony,  in  1691.  He  was  the  son  of 
JOHANN  Heinrich  Sperling,  a  painter  of  portraits 
and  fancy  heads,  who  had  moved  from  Hamburg 
to  Halle.  Christian  studied  under  his  father,  and 
afterwards  under  Adriaan  Van  der  Werif,  at  Rotter- 
dam, and  adcipted  his  manner  of  painting.  There 
is  a '  Vertumnus  and  Pomona'  by  him  in  the  Dresden 
Gallery  ;  and  many  of  his  portraits  of  persons  of 
high  rank  exist  in  Germany.  They  are  but  little 
known  elsewhere.     He  died  at  Ansbach  in  1746. 

SPERWER,  PlETER,  a  Flemish  painter  of  the 
17th  century,  was  born  at  Antwerp,  wliere  he  prac- 
tised, and  where  a  few  of  his  pictures  are  still  to  be 
found.  He  is  registered  as  a  pupil  in  the  records 
of  the  Guild  of  St.  Luke  for  1675-76.  In  1703  he 
received  from  the  States  of  Antwerp  the  sum  of 
ninety  florins  for  a  portrait  of  the  King,  to  be 
placed  in  the  H6fel  de  Ville. 

SPEY,  Martin,  a  painter  of  portraits,  flowers, 
and  dead  game,  was  born  at  Antwerp  in  1777.  He 
left  his  native  country  for  Paris  in  1809,  and  re- 
mained there  till  the  entry  of  the  allied  army  in 
1814,  after  which  all  trace  of  him  is  lost. 

SPEZZINI,  Francesco,  was  a  native  of  Genoa, 
and  flourished  about  the  year  1578.  He  was  first 
a  scholar  of  Luca  Cambiasi,  but  he  afterwards 
studied  under  Giovanni  Battista  Castelli.  He  visited 
Rome,  where  he  studied  Raphael,  Michelangelo, 
Giulio  Romano,  &c.  On  his  return  to  Genoa,  he 
painted  several  pictures  for  the  churches,  particu- 
larly an  altar-piece  for  S.  Coluinbano,  which  is  per- 
haps his  best  work.     He  died  young,  of  the  plague. 

SPKJER,  ,  an  English  mezzotint  engraver, 

who  flourished  about  the  year  1770.  He  engraved 
some  portraits  after  Sir  Joshua  Reynolds,  among 
which  are  those  of  Barbara,  Countess  of  Coventry  ; 
Kitty  Fisher  ;  and  Lady  StaflEord. 

SPlCER,  Henry,  painter  in  miniature  and 
enamel,  born  at  Reepham,  in  Norfolk,  was  a  pupil 

108 


of  Gervase  Spencer.  He  was  extensively  employed, 
and  reached  considerable  excellence  as  an  enamel 
painter.  He  was  a  constant  exhibitor  with  the  In- 
corporated Society  and  with  the  Royal  Academy, 
and  was  appointed  portrait  painter  in  enamel  to  the 
Prince  of  Wales.  In  1776  he  visited  Dublin,  and 
painted  many  Irish  celebrities.  He  died  in  London 
in  1804. 

SPIEGL,  Joseph,  a  mezzotint  engraver,  of  whom 
nothing  is  known,  except  that  he  was  born  in  1772, 
and  received  his  artistic  education  in  the  Academy 
at  Vienna.     Five  prints  by  him  are  extant : 

A  Holy  Family  ;  after  Sassoferrato. 
Mater  Dolorosa  ;  after  Guido. 
Venus  and  Cupid  ;  after  N,  Poussin. 
Bacchus  and  Ariadue  ;  after  Gavin  Hamilton. 
A  Woman  bathing  ;  after  Rubens. 

SPIELBERG,  Adriana,  (Spilberq,)  the  daughter 
of  Johannes  Spielberg,  was  born  at  Amsterdam  in 
1646,  and  instructed  by  her  father.  She  excelled  in 
crayon  portraits,  though  she  occasionally  practised 
in  oil.  She  married  the  painter  Breckvelt,  and, 
after  his  death,  Eglon  Van  der  Neer. 

SPIELBERG,  Johannes,  (or  Spilberq,)  born  at 
Diisseldorf  in  1619,  was  the  son  of  a  glass-painter 
in  the  service  of  the  Elector  Palatine.  It  was  his 
father's  intention  to  have  sent  him  to  Antwerp,  to 
the  school  of  Rubens,  but  that  painter's  death  put 
an  end  to  the  project.  So  Spielberg  went  to  Am- 
sterdam, where  he  became  a  scholar  of  Govert 
Flinck.  He  prosecuted  his  studies  under  that  artist 
for  seven  years,  and  on  leaving  his  school,  soon 
won  fame  as  a  painter  of  history  and  portraits. 
The  reputation  he  acquired  at  Amsterdam  led  to 
his  being  invited  to  the  court  of  Diisseldorf,  as 
painter  to  the  Elector  Palatine.  He  painted  the 
portraits  of  the  Electoral  Family,  and  several  his- 
torical works  for  the  churches.  For  the  Schloss 
he  painted  a  series  of  '  Labours  of  Hercules.'  He 
was  also  commissioned  to  paint  some  scenes  from 
the  '  Life  of  Christ,'  which  he  did  not  live  to  accom- 
plish. He  died  in  1690.  His  'Banquet  of  the 
Archers'  Company,' in  the  Stadthaus  at  Amsterdam, 
shows  clearly  the  influence  of  Van  der  Heist.  One 
Gabriel  Spielberg,  who  was  painter  to  the  court 
of  Spain  in  the  17th  century,  is  supposed  to  have 
been  his  brotljer. 

SPIERINC,  Nicholas,  a  Flemish  miniaturist  of 
the  15th  century.  He  was  working  at  Brussels  in 
1469  for  the  Duke  of  Burgundy. 

SPIERINGS,  Pieter,  (or  Spiekinckx,)  painter, 
born  at  Antwerp  in  1633.  He  has  sometimes  been 
mistakenly  called  Nicholas.  He  painted  land- 
scapes, into  which  other  artists  occasionally  intro- 
duced figures.  Pieter  Ykens  in  particular  is  said 
to  have  frequently  aided  him  in  this  manner.  He 
spent  several  years  in  Italy,  and  imitated  the 
works  of  Salvator  Rosa.  It  has  been  said  that 
he  died  in  England,  but  more  recent  researches 
show  him  to  have  died  in  his  native  town  in  1711. 
He  and  his  wife,  Maria  de  Jode,  whose  death  took 
place  in  1714,  were  both  buried  in  the  Church  of  St. 
Jacques  at  Antwerp.  He  was  the  friend  of  Biset, 
and  was  one  of  the  painters  of  Louis  XIV.  At 
Antwerp  there  are  two  large  landscapes  by  him, 
and  two  in  the  Madrid  Museum. 

SPIERRE,  Claude,  a  French  painter  of  the 
17th  century,  and  brother  of  Fr.  Spierre,  the  en- 
graver. He  went  to  Rome  to  study,  and  gave 
promise  of  a  great  career,  which  was  cut  short  by 
his  early  death. 

SPIERRE,  Francois,  born   at  Nancy  in  1643. 


PAINTERS  AND  ENGRAVERS. 


went  to  Paris  when  very  young,  and  became  the 
pupil  of  Franfois  de  Poilly,  whose  style  he  for 
some  time  followed  with  success.  He  did  not, 
however,  confine  himself  to  the  manner  of  his 
master,  but  went  to  Italy,  where  he  acquired  a 
distinctive  style  of  his  own.  He  did  not  long  sur- 
vive his  return  to  his  native  country,  but  died  in 
1681.     The  following  are,  perhaps,  his  best  prints  : 

Pope  Innocent  XI. ;  engraved  in  the  style  of  Mellan ; 

Franciscus  Spier,  del.  et  sculp. 
The  Grand  Duke  of  Tuscany  ;  dated  1659. 
Lorenzo,  Count  de  Marsciano ;  after  his  own  design. 
The  Virgin  suckling  the  Infant  Christ ;  after  Correggio. 
St.  Michael  defeating  Satan  ;  after  P.  da  Cortona. 
The  Immaculate  Conception  ;  after  the  same. 
The  Virgin  and  Infant  Jesus,  with  St.  Catharine ;  after 

the  same. 
The  Circumcision  ;  after  Giro  Ferri. 
St.  John  preaching  in  the  "Wilderness  ;  after  Bernini. 
The  miracle  of  the  Loaves  and  Fishes ;  after  the  same. 
Christ  on  a  Cross  suspended  over  a  sea  of  blood,  which 

flows  from  His  wounds ;  after  the  same. 

SPIERS,  Albert  van,  was  born  at  Amsterdam 
in  1666,  and  was  a  scholar  of  Willera  van  Ingen, 
an  historical  painter  of  some  eminence.  He  had 
already  given  proof  of  considerable  talent  in  his 
native  country,  when  he  determined  to  visit  Rome. 
After  passing  seven  years  there,  he  went  to  Venice 
to  improve  his  colour.  After  a  residence  in  Italy 
of  ten  years  he  returned  to  Holland  in  1697,  and 
established  himself  at  Amsterdam,  where  he  was 
largely  employed  in  decoration.  He  had  established 
a  great  reputation  when  he  fell  a  victim  to  over- 
work, in  1718. 

SPIESS,  Adgust  Friedrich,  engraver,  was  born 
at  Castell,  in  Franconia,  in  1806.  He  began  his 
studies  at  the  Munich  Academy,  under  Amsler.  His 
first  works  were,  '  The  Transfiguration,'  and  a 
'  Holy  Family,'  after  Raphael,  and  '  The  Last 
Supper,'  after  Leonardo  da  Vinci.  He  produced  a 
large  number  of  historical  and  religious  engravings, 
and  many  excellent  crayon  portraits.  He  died  at 
Munich  in  1855. 

SPIESS,  Heinrich,  historical  painter,  born  at 
Mimich  in  1831,  was  a  pupil  of  the  Academy  under 
Voltz  from  18-19  to  1856,  and  studied  later  under 
Kaulbach.  He  was  associated  with  Schwind  in  the 
execution  of  the  Wartburg  frescoes,  and  jointly 
with  his  brother,  August  Fr.,  he  painted  allegories 
of  the  sciences  in  the  Arcades  of  the  Maximilia- 
neum,  at  Munich.     He  died  at  Munich  in  1875. 

SPILIMBERGO,  Irene  di,  was  born  at  Udine 
about  1540.  Although  practising  painting  for  her 
amusement  only,  she  applied  herself  to  it  with  all 
the  zeal  of  a  professor,  and  is  said  to  have  received 
lessons  from  Titian.  Lanzi  mentions  three  pictures 
from  sacred  history,  by  this  lady,  which  were  in  his 
time  in  the  Casa  Maniago  at  Venice.  Titian  is  said 
to  have  painted  her  portrait.     She  died  in  1559. 

SPILMAN,  Hendrik,  was  born  at  Amsterdam  in 
1721,  and  painted  portraits  and  landscapes  with  some 
success.  He  engraved  a  few  plates,  among  which 
are  the  following : 

Henry  Tilly  ;  after  C.  van  Noorie. 

His  own  Portrait ;  after  the  same  painter. 

Several  portraits  for  Langendijk's  History  of  the  Counts 

of  Holland. 
Six  small  Views  in  Holland,  on  one  sheet ;  inscribed 

Plaizante  Landschapies,  H.  Spilman,  inv.  et  snilp. 
View  of  the  Kokin,  Amsterdam  ;  after  J.  de  Beijer. 

He  also  engraved  three  landscapes,  in  the  style  of 
bistre  drawings,  after  Everdingen,  Van  Borssum, 
and  Berchem.     He  died  in  Haarlem  in  1784. 


SPILNBERGER,  Hans,  (Spielbebger,)  paintei 
and  etcher,  was  born  at  Kaschau,  in  Hungary,  in 
1628.  He  worked  in  Italy  and  Augsburg,  and 
afterwards  settled  in  Vienna  as  court  painter.  He 
was  carried  off  by  the  plague  in  1679,  while 
travelling  in  Bohemia.  His  works  include,  '  St. 
Peter  preaching  on  the  Day  of  Pentecost,'  in  the 
Kreuzkirche  at  Augsburg ;  '  The  Death  of  St. 
Benedict,'  in  the  church  of  S.  Emeran  at  Ratisbon  ; 
and  '  The  Assumption  of  the  Virgin,'  in  St.  Stephen's, 
Vienna.     He  also  etched  several  plates. 

SPILSBURY,  F.  B.,  an  amateur  painter  and 
draughtsman,  was  a  surgeon  in  the  navy,  and 
made  many  drawings  of  scenery  and  costumes  seen 
by  him  during  his  voyages.  He  served  in  the 
Syrian  campaign  of  1796,  and  published  a  '  Pictur- 
esque Scenery  in  the  Holy  Land  and  Syria,' and,  in 
1805,  a  book  on  the  West  Coast  of  Africa,  illustrated 
by  himself 

SPILSBURY,  John,  an  English  engraver  and 
printseller,  was  born  in  1730.  He  scraped  a  great 
many  plates  in  mezzotint  after  Reynolds  and  others, 
and  many  portraits  after  his  own  designs.  In  the 
dot  style  he  engraved  a  collection  of  gems,  which 
was  published  in  numbers.  About  1782  he  was 
drawing-master  at  Harrow  School.  He  also  kept  a 
print-shop  in  Russell  Court,  Covent  Garden.  He 
died  in  1795.     Among  his  plates  we  may  name  : 

Miss  Pond,  who  rode  1000  miles  in  1000  hours  ;  from  his 

own  design. 
A  set  of  fourteen  Heads  and  Busts  ;  in  the  manner  of 

Rembrandt.     1767  and  1768. 
George  III.  when  Prince  of  Wales.     1759. 
Queen  Charlotte.     1764. 

Christian  VII.,  King  of  Denmark  ;  after  Fesche.     1769. 
luigo  Jones  ;  after  J'andyck. 

Lady  Mary  Leslie  decorating  a  Lamb ;  after  Reynolds. 
A  young  Lady  with  Flowers  ;  after  the  same. 
Frederick  Howard,  Earl  of  Carlisle ;  after  the  saine. 
A  Boy  eating  Grapes  ;  after  Rubens. 
Two  Monks  reading  ;  after  the  same. 
Abraham  sending  away  Hagar  ;  after  Rembrandt. 
The  Flight  into  Egypt ;  after  Murillo. 
The  Crucifixion  ;  after  the  same. 

The  name  Inigo  Spilsbury,  which  often  occurs  in 
catalogues,  seems  to  have  been  given  to  John,  as 
the  engraver  of  Van  Dyck's  '  Inigo  Jones,'  to  dis- 
tinguish him  more  readily  from  his  brother  Jonathan. 

SPILSBURY,  Jonathan,  the  brother  of  John 
Spilsbury,  exhibited  portraits  at  the  Royal  Academy 
from  1776  to  1807.  Among  them  were  those  of 
Charles  Wesley,  and  of  the  Rev.  J.  Fletcher  and 
his  wife. 

SPILSBURY,  Maria,  painter  and  engraver,  was 
the  daughter  of  John  Spilsbury,  and  was  born  in 
London  in  1777.  She  painted  genre  pictures,  and 
was  most  successful  in  the  treatment  of  rural  life 
and  of  childhood.  In  1807  she  exhibited  eight 
pictures  at  the  Royal  Academy.  Many  of  her  best 
works  were  engraved,  one,  'A  Shepherd's  Family,' 
by  herself.  She  married  a  Mr.  John  Taylor,  and 
settled  in  Ireland,  where  she  died. 

SPINELLI,  Gasparri,  (Parri,)  painter  of  Arezzo, 
born  in  1387,  was  the  son  and  pupil  of  Luca 
Spiuelli.  He  afterwards  went  into  the  school  of 
Ghiberti  in  Florence.  The  church  of  S.  Domenico, 
Arezzo,  contains  a  '  Crucifixion,'  with  the  Virgin  and 
figures  of  three  saints  on  either  side,  by  him,  in 
fresco.  The  Gallery  of  Arezzo  possesses  three 
frescoes  taken  from  the  church  of  Sta.  Maria  della 
Misericordia  of  that  city  ;  and  the  church  of  San 
Francesco,  a  '  Last  Supper,'  which  is  now  much 
damaged  by  time.     His  portrait,  painted  by  Marco 

109 


A  BIOGRAPHIQAL  DICTIONARY  OF 


de  Montepulciano,  is  still  preserved  in  the  cloisters 
of  S.  Bernardo,  in  his  native  city.  He  died  in  1-152. 
SPINELLI,  Ldca,  commonly  called  Spinello 
Aretino,  was  the  son  of  Liica  Spinelli,  a  Florentine 
Ghibeline,  who  about  1310  had  fled  to  Arezzo, 
where  the  younger  Luca  was  born  in  1332.  The 
boy  was  apprenticed  to  Jaeopo  del  Casentino,  a 
follower  of  Giotto,  and  before  his  twentieth  year 
was  a  better  artist  than  his  master.  Very  few  of 
his  earlier  works  at  Arezzo  have  been  preserved. 
About  1348  we  find  him  at  Florence,  painting 
frescoes  in  the  choir  of  S.  Maria  Maggiore,  in  two 
chapels  of  the  Carmine,  and  in  one  at  S.  Trinity, 
besides  three  altar-pieces  for  the  churches  of  S. 
Apostolo,  S.  Lucia  di  Bardi,  and  S.  Croce.  The 
frescoes  have  all  disappeared,  but  the  panels  re- 
main. In  1361  he  was  recalled  to  Arezzo,  where 
he  painted  an  altar-piece  for  the  Abbey  of  the 
CatnaldoH  in  the  Casentino,  which  was  removed  in 
1539  to  give  place  to  one  by  Vasari,  as  well  as 
many  other  altar-pieces  and  frescoes,  of  which  an 
'  Annimciation  '  over  the  altar  of  S.  Francesco,  and 
frescoes  in  different  parts  of  the  church,  may  still 
be  seen  ;  the  bell-room  contains  frescoes  illus- 
trating the  life  of  St.  Michael  the  Archangel. 
In  1384,  when  Arezzo  was  sacked,  Spinello  again 
went  to  Florence,  where  be  was  engaged  by 
Bon  Jaeopo  d'Arezzo,  Abbot  of  S.  Miniato,  and 
General  of  the  Congregation  of  Monte  Oliveto, 
to  furnish  an  altar-piece  for  bis  church.  The  centre 
panel  of  this  work  has  disappeared  ;  but  its  two 
wings,  with  the  date  1385,  and  the  names  of  Simone 
Cini,  the  carver,  and  Gabriello  Saracini  the  gilder, 
inscribed  on  two  members  of  the  frame,  are  in 
the  possession  of  Mons.  Kamboux,  superintendent 
of  the  Gallery  at  Cologne,  while  its  gable  and 
predella  are  in  the  Gallery  of  Siena.  He  also 
decorated  the  sacristy  of  San  Miniato  with  frescoes 
representing  scenes  from  the  life  of  St.  Benedict. 
Although  very  unskilfully  restored,  these  still 
exist,  and  are  very  Giotto-like  in  composition, 
besides  possessing  that  decorative  brilliance  of 
colour  which  is  one  of  the  characteristics  of  the 
Siena  school.  His  style,  in  fact,  may  be  regarded 
as  a  link  between  the  school  of  Giotto  and  that  of 
Siena.  In  1391-92  Spinello  painted  six  frescoes, 
which  still  remain  on  the  south  wall  of  the  Pisan 
Campo  Santo,  representing  miracles  of  Sts.  Potitus 
and  Ephesus.  These  finished,  be  again  returned 
to  Florence,  where  in  1400  and  1401  he  painted 
scenes  from  the  lives  of  SS.  Phili|)  and  James 
for  a  chapel  in  Santa  Croce,  and  an  altar-piece 
for  the  convent  of  Santa  Feliciti,  now  in  the 
Accademia  at  Florence.  It  is  in  three  compart- 
ments, of  which  the  centre,  with  the  '  Coronation 
of  the  Virgin,'  is  painted  and  signed  by  his 
assistant  and  pupil,  Lorenzo  di  Niccolo  Gerini  ; 
the  figures  of  St.  Peter,  St.  James,  St.  John, 
and  St.  Benedict  on  its  right  were  painted  and 
signed  by  Niccol6  di  Pietro,  the  father  of  Lo- 
renzo ;  and  the  fi-ures  of  St.  John  Baptist,  St 
Matthew,  and  S.  Feliciti  on  its  left  were  painted 
and  signed  by  Spinello  himself.  The  whole  bears 
an  inscription  dated  1401.  To  about  the  same 
period  must  be  ascribed  the  famous  fresco,  for- 
merly in  S.  Maria  degli  Angeli,  at  Arezzo,  repre- 
senting the  'Fall  of  the  Rebel  Angels.'  The 
church  was  destroyed  in  the  last  century,  and 
the  only  parts  of  Spinello's  work  which  were 
saved  are  now  in  the  National  Gallery.  It  is  of 
this  last  subject  that  Vasari  states  that  Spinello 
died  through  fright  from  a  dream  in  which  he 
110 


saw  the  devil,  who  demanded  of  him  why  he 
had  painted  him  so  frightful.  But  so  far  from 
dying  at  this  time,  Spinello  accepted  a  commission 
to  paint  at  Siena,  where  he  and  his  son  Gasparri 
or  Parri,  went  in  1404,  and  worked  at  the  decora- 
tion of  the  Duomo  until  1405.  He  probably  then 
returned  to  Florence,  where  he  decorated  Dardano 
Accaiuoli's  chapel  in  San  Niccold,  as  well  as  portions 
of  the  church.  In  1408  he  and  his  son  returned 
to  Siena,  and  decorated  the  Sala  di  Balia  of  the 
Palazzo  Pubblico  with  a  series  of  sixteen  frescoes, 
illustrating  the  Venetian  campaign  against  Frederic 
Barbarossa,  and  giving  prominence  to  the  part 
taken  in  it  by  Pope  Alexander  III.  It  is  supposed 
that  he  then  retired  to  Arezzo,  where  he  died  in 
1410,  leaving  two  sons,  Gasparri  and  Baldassare. 
Forzore  Spinelli,  sometimes  called  Luca's  son,  was 
his  nephew. 

Academy.    MadoDDa  and  Child  with  Saints 
and  Angels.     1391. 


Florence. 
Gubbio. 


Marchese  )  A  Banner  with  the  Flagellation, 
Ranghiacci.^      and  Mary  Magilalene. 
London.       Nat,  Oailery.    St.  John  the  Baptist,  St.  John, 
and  St.  James  the  Great  (?). 
„  „  Michael   and    six  Companions, 

from  the  '  Fall  of  the  Rebel 
Angels,'  formerly  in  S.  Maria 
degli  Angeli,  Arezzo. 
„  „  Fragments  from  the  border  of 

the  same. 
Siena.  Academy.     Death  of  the  Virgin. 

SPINNY,  GniLLAOME  de,  a  native  of  Brussels, 
studied  art  in  that  city  and  in  France.  In  1756 
he  established  himself  at  the  Hague,  where  he 
painted  with  some  acceptance  for  many  years.  He 
died  in  1785. 

SPIRINX,  J.,  an  indifferent  engraver,  who  flour- 
ished about  the  year  1635.  He  engraved  some 
frontispieces  and  other  plates  for  books. 

SPIRINX,  L.,  probably  a  relation  of  J  Spirinx, 
engraved  some  frontispieces  and  other  ornaments 
for  books,  dated  from  1641  to  1674.  This  artist  has 
left  a  few  portraits,  among  them  one  of  Pierre  de 
la  Mothe,  dated  1663. 

SPISANO,   ViNCENZO,    (called   Lo    Spisanelli,) 
painter,  born  at  Orta,  in   the  Milanese,  in  1495, 
studied  at  Bologna,  in  the  school  of  Denys  Calvaert, 
whose   style   he  adopted,  and    followed    without 
deviation.     His   compositions   are,   however,   less 
judicious,   and   his   design    less   correct.      Of  his 
numerous  works  in  the  public  buildings  of  Bologna, 
the  most  remarkable  are,  the  '  Death  of  S.  Joseph,' 
in   S.   Maria    Maggiore  ;    the    '  Visitation    of    the 
Virgin  to  S.  Elizabeth,'  in  S.  Giacomo  Maggiore  ; 
the  '  Baptism  of  Christ,'  in  S.  Francesco  ;  and  the 
'  Conversion  of  Paul,'  in  S.   Domenico.     His  easel 
pictures,  most  of  which  are  in  private  collections 
in  Bologna  and  its  neighbourhood,  are  better  than 
his  altar-pieces.     He  died  in  1662. 

SPLINTER,  Gerrit,  is  quoted  by  Van  Mander 
as  the  master,  at  Utrecht,  of  Abraham  Bloemaert. 
The  records  of  Utrecht  show  that  early  in  the 
16th  century  a  family  of  painters  of  this  name  was 
established  in  the  city. 

SPOEDE,  Jean  Jacques,  a  Flemish  painter  of 
still-life,  was  born  at  Antwerp,  probably  in  the 
first  years  of  the  18th  century.  He  studied  in  the 
Academy  of  his  native  city,  and  afterwards  went 
to  Paris,  where  he  became  the  friend  and  pupil  of 
Watteau.  His  name  occurs  in  the  catalogue  of 
the  exhibitions  held  by  the  Paris  Society  of  S.  Luke, 
of  which  he  was  professor,  and  rector  in  1751, 1762, 


PAINTERS  AND  ENGRAVEBa 


and  1753.     He  died  in  1760.     There  is  a  portrait 
by  him  in  the  Orleans  Museum. 

SPOFFORTH,  Robert,  an  English  engraver 
and  printseller,  who  flourished  about  the  year  1707 
From  his  style  Strutt  thinks  he  was  a  pupil  of 
S.  Gribelin.  We  have  a  few  portraits  by  him, 
among  them  the  following  : 
Queen  Anne.      |      George  I.      |      John  Cole,  M.  D. 

SPOLETI,  Pier-Lorenzo,  a  Genoese,  born  in 
1680,  was  a  pupil  of  Domenioo  Piola  the  Elder, 
and  lived  for  a  time  at  Madrid,  where  he  had  some 
success  as  a  portrait  painter.     He  died  in  1726. 

SPOLVERINI,  HiLARio,  born  at  Parma  in  1657, 
was  a  disciple  of  Francesco  Monti.  Although  he 
occasionally  painted  historical  subjects,  he  was 
better  known  for  his  battles,  attacks  of  banditti, 
and  assassinations,  which  he  designed  with  spirit, 
and  painted  with  a  consistent  vehemence.  He 
was  much  employed  by  Francesco,  Duke  of  Parma. 
There  are  some  altar-pieces  by  nim  at  Parma,  in 
the  cathedral  and  the  Certosa.  He  died  at  Piacenza 
in  1734. 

SPOONER,  Charles,  was  born  in  the  county  of 
Wexford  in  the  first  half  of  the  18th  century,  and 
apprenticed  in  Dublin  to  John  Brooks.  He  came 
to  London  on  the  invitation  of  McArdell,  We  have 
several  mezzotint  portraits  and  other  subjects  by 
him,  dated  from  1752  to  1762,  among  which  are  the 
following : 

Thomas  Prior  ;  after  J.  Van  Kost.     1752. 

Major-General  Sir  William  Johnson  ;  after  T,  Adams. 
1756. 

Miss  Gunning ;  after  Cotes. 

Miss  Smith  ;  after  the  same. 

George  Keppel,  Earl  of  Albemarle  ;  after  Reynolds. 

Lady  Selina  Hastings ;  after  the  same. 

Garrick  in  the  character  of  Lear  ;  after  Houston. 

■Woman  with  a  Candle  in  her  hand  ;  afler  Schaliken. 

Peasants  regaling  ;  after  Teniers. 

A  set  of  four  plates  of  Youthful  Amusements ;  after 
Mercier. 
He  died  in  London  in  1767,  aged  about  fifty. 

SPOOR,  W.  J.  L.,  a  Flemish  painter  of  the  18th 
century,  was  born  at  Budel,  in  North  Brabant.  He 
was  a  scholar  of  Hendrik  van  Anthonissen,  at  Ant- 
werp. In  his  early  pictures  he  imitated  the  manner 
of  that  painter ;  but  afterwards  became  a  copyist 
of  Paul  Potter,  and  of  other  landscape  and  animal 
painters  of  the  Dutch  school. 

SPORCKMANS,  Herbert,  was  bom  at  Antwerp 
in  1619.  He  studied  under  Rubens  ;  received  the 
freedom  of  the  Corporation  of  S.  Luke  in  1640, 
and  was  dean  in  1659.  He  died  in  1690.  There 
is  a  picture  by  him  in  the  Hotel  de  Ville,  at 
Antwerp. 

SPRANGHER,  Bartholomads,  painter,  born  at 
Antwerp  in  1546,  was  the  son  of  Joachim  Sprangher, 
an  eminent  merchant,  who  destined  him  for  com- 
mercial pursuits  ;  but  betraying  a  decided  inclina- 
tion for  painting,  he  was  placed  under  the  tuition 
of  Jan  Mandijn,  at  Haarlem,  with  whom  he  studied 
eighteen  months,  when,  on  the  death  of  his  in- 
structor, he  became  a  scholar  of  an  amateur  called 
Van  Dalem.  He  afterwards  travelled  through 
France  to  Italy,  and  resided  three  years  at  Parma, 
where  he  studied  under  Bernardino  Gatti,  called 
II  Sojaro,  who  had  been  a  disciple  of  Correggio. 
From  Parma  he  went  to  Rome,  where  he  was 
engaged  to  decorate  the  Villa  of  Caprarola  by 
Cardinal  Farnese.  He  was  introduced  by  that 
prelate  to  Pope  Pius  V.,  who  appointed  him  his 
painter,  and  gave  him  apartments  in  the  Belvidere. 
The  first  thing  he  did  for  the  Pope  was  a  '  L.»st 


Judgment,'  a  composition  of  more  than  five  hundred 
figures,  painted  on  a  copper-plate  six  feet  high, 
which  he  finished  with  great  care.  He  was  also 
commissioned  by  the  Pope  to  paint  twelve  scenes 
from  the  Passion  of  our  Saviour.  In  1675  Sprangher 
was  invited  to  the  court  of  Vienna,  by  the  Emperor 
Maximilian  II.,  who  appointed  him  his  principal 
painter.  On  the  death  of  Maximilian,  in  1576,  he 
remained  in  the  service  of  Rudolph  II.,  for  whom 
he  was  employed  both  at  Vienna  and  at  Prague. 
Sprangher  was  greatly  respected  by  the  Emperor, 
both  for  his  abilities  as  a  painter,  and  for  his 
literary  acquirements,  which  were  extensive,  as 
well  as  for  his  talents  in  conversation.  In  1588 
Rudolph  ennobled  him  and  his  descendants.  He 
died  at  Prague  about  1627.  There  is  a  curious 
picture  by  Sprangher  in  the  magazine  of  the 
National  Gallery ;  the  subject  is  '  Men  devoured 
by  Dragons.'     Other  works  : 

Berlin.  Museum.    The  Resurrection. 

Copenhag;en.       Museum.     The  Death  of  Lucretia. 
Vienna.  Gallery.    Portraits   of    himself    and   his 

Wife. 
„  „  The  Virtues  of  Rudolph  II.,  an 

allegory. 
And      others      at      .Stockholm^ 
Schleissheim,  Darmstadt,  and 
Brunswick. 

Spranger  has  left  a  few  etchings,  among  which 
the  best  is, 
A  Figure  bound  to  a  Tree,  on  which  the  initials  BS. 
are  reversed. 

SPRINGER,  CoKNELls,  Dutch  painter  and  en- 
graver ;  born  May  25, 1817,  at  Amsterdam  ;  studied 
with  Gaspard  Karssen  and  chose  the  same  genre 
as  that  of  his  master,  which  was  views  of  towns. 
Some  of  his  pictures  were  highly  appreciated, 
such  as  '  Hotel  de  Ville  de  Nim^gue,'  '  La  Maison 
de  Rembrandt,'  '  La  Ville  de  Z^lande,'  and  several 
were  exhibited  at  the  Salons  and  the  Paris  Exhibi- 
tions, notably  at  the  1867  Exhibition,  to  which  he 
sent  his  '  Vue  de  Munster.'  He  obtained  several 
ilecorations,  including  the  Leopold  Ord'ir,  the 
Hague  gold  medal  of  1857,  and  others.  He  was  a 
member  of  the  Rotterdam  Academy,  and  died  at 
Hilversum,  February  18,  1891. 

SPRINGINKLEE,  Hans,  is  said  to  have  resided 
in  the  house  of  Albrecht  Diirer,  from  whom  he  learnt 
the  principles  of  the  art  of  design,  and  to  have  died 
about  1640.     He  was  formerly  ranked  among  wood 

engravers  from  the  presence  of  hie  mark,    tS|\^ 

on  several  of  the  woodcuts  in  the  '  Hortulus 
animae  cum  horis  beataj  Virginis,'  &c.,  printed  at 
Nuremberg  in  1618,  1619,  and  1520.  All  that  can 
be  certainly  affirmed  of  him,  however,  is  that  he 
was  the  designer  of  those  subjects,  and  that  he  was 
contemporary  with  Albrecht  Diirer.  Neudorfer  calls 
him  an  illuminator,  and  Thausing  believes  him  to 
have  been  the  author  of  some  of  the  borders  in  the 
Prayer  Book  of  Maximilian. 

Sl'RONCK.     See  Verspronck. 

SPRONG,  Gerard,  born  at  Haarlem  in  1600, 
was  a  fair  painter  of  portraits  and  interiors.  He 
died  in  1651.  There  is  a  half-length  portrait  of  a 
lady  by  him  in  the  Louvre. 

SPROSSE,  Karl,  painter  and  etcher,  bom  at 
Leipsic  in  1819.  He  worked  at  the  Art  Academy 
of  Leipsic,  under  Fr.  Brauer  and  Schnorr.  About 
1838  he  was  employed  by  Dr.  Puttrich  of  Cologne. 
In  1840  he  went  to  Italy,  where  he  painted  several 
views  of  the  ruins  of  ancient  Rome,  from  which 

m 


A  BIOGRAPHICAL  DICTIONARY  OF 


he  afterwards  etched  twelve  plates.  In  1848  lie 
returned  to  Germany,  but  in  1849  was  again  in 
Rome.  In  1850,  1857,  and  1860  he  was  painting 
in  Venice.  He  also  visited  Greece  in  search  of 
subjects.  Besides  his  Italian  series,  he  etched 
many  German  castles,  cathedrals,  &c.  He  twice 
exhibited  in  London.  He  died  at  Leipsic  in  1874. 
SPUUYT,  Charles,  son  and  pupil  of  Philip 
Spruyt,  was  born  at  Brussels  in  1769.  After  study- 
ing in  Italy,  he  settled  in  Brussels,  where  he  painted 
historical  pictures,  such  as  a  'S.  Theresa,'  'The 
Disciples  at  Emmaus,'  'John,  Duke  of  Brabant, 
rescuing  his  sister.'  He  died  at  Brussels  in  1827. 
SPRUYT,  Jakob  Philips,  a  native  of  Ghent, 
where  he  flourished  about  1764.  He  worked  for 
a  time  at  Delft  and  the  Hague,  but  finally  settled 
in  his  native  city. 

SPRUYT,  Philip  Lambert  Joseph,  painter,  was 
born  at  Ghent  in  1727.  He  received  his  first  teach- 
ing from  Mil6  and  Van  Loo  in  Paris,  and  then  from 
Mengs  in  Rome.  On  his  return  to  Belgium  he 
became  Professor  of  Drawing  at  the  Ghent  Academy, 
and  by  command  of  Maria  Theresa  made  a  cata- 
logue of  all  the  works  of  art  in  the  Belgian 
churches  and  convents,  which  he  adoi'ned  with 
etchinfjs.     He  died  at  Ghent  in  1801. 

SPRY,  William,  an  English  flower-painter,  who 
practised  in  London,  and  exhibited  at  the  Royal 
Academy  from  1834  to  1847. 

SP  YCk,  Hendbik  van,  portrait  painter,  flourished 
at  the  Hague  about  1670.  He  was  an  artist  of 
some  ability,  and  painted  the  portrait  of  Spinoza, 
with  whose  opinions  he  sympathized. 

SPYERS,  James,  a  painter  of  views,  practised 
in  London  in  the  second  part  of  the  18th  century. 
Various  landscapes  by  him  were  engraved  and 
mezzotinted  by  Jukes  and  G.  Wills. 

SQUARCIONE,  Francesco,  (Squarson,  Squarzon, 
Squarzun,  or  Squarzonds,)  is  celebrated  in  the 
tradition  of  ancient  Italian  art  as  the  founder  of  the 
Paduan  school  of  painting,  and  as  having  initiated 
among  North  Italian  artists  the  study  of  ancient 
Greco-Roman  art.  He  is  important  above  all 
because  he  is  said  to  have  educated  among  his 
hundred  and  thirty-seven  pupils  one  of  the  greatest 
painters  of  North  Italy,  his  adopted  son  Andrea 
Mantegna.  Vasari,  referring  to  Girolarao  Carapag- 
nola,  a  contemporary  scholar  of  Padua,  and  the 
Paduan  historiographer  Bernardino  Scardeone  ('  De 
Antiquitate  Urbis  Patavii,'  1560)  relates  that  Squar- 
cione,  himself  a  very  weak  painter,  used  to  instruct 
Mantegna  and  his  other  pupils  not  by  his  own 
examples  but  by  means  of  casts  and  drawings  after 
antique  statues  and  other  works  of  art  which  he 
had  collected  duiing  his  long  journeys  in  Italy, 
especially  in  Tuscany  and  Rome,  and  even  in 
Greece.  Squaroione,  who  was  therefore  called  the 
father  of  painters,  is  said  to  have  been  very  famous 
in  his  time,  and  to  have  been  honoured  by  the 
acquaintance  of  very  conspicuous  persons,  such 
as  the  Emperor  Frederick,  St.  Bernardino,  the 
Cardinal  Mezzarota,  and  others. 

From  the  study  of  the  documents  and  of  the 
pictures  attributed  to  him,  however,  we  get  quite  a 
different  idea  of  his  artistic  importance.  He  was 
bom  at  Padua  in  1394,  the  son  of  the  notary 
Giovanni  Sijuarcione.  In  a  deed  of  Dec.  29, 1423, 
he  is  called  a  tailor  and  embroiderer  (sartor  et 
recamator),  and  it  is  not  earlier  than  in  1439  that 
we  find  him  mentioned  for  the  first  time  as  a 
painter.  He  must  therefore  have  practised  paint- 
ing only  in  later  years,  especially  if  he  had  made 
112 


long  journeys  in  distant  countries.  From  1441  to 
1463  he  is  mentioned  in  the  registers  of  the  frcujlia 
(brotherhood  or  guild)of  the  Paduan  painters, and  in 
the  account-books  of  St.  Antonio  and  of  the  cathe- 
dral, as  a  painter  and  as  providing  certain  drawings. 
In  1463  he  is  declared  to  have  removed  to  Venice, 
and  in  1465  he  was  exempted  from  all  taxes 
because  he  had  pledged  himself  to  draw  and  colour 
a  plan  of  the  town  and  province  of  Padua  for  the 
municipality.  He  died,  according  to  Scardeone,  at 
Padua  in  1474,  at  the  age  of  eighty. 

Only  two  authentic  works  of  Squarcione  can  still 
be  pointed  out :  an  altar-piece  in  the  Paduan 
Museam  which,  according  to  the  still-existing 
contract,  he  executed  in  1449  to  1452  for  the 
Lazzara  family,  and  a  Madonna  with  Child,  signed 
with  his  name,  bought  by  the  Berlin  Museum  from 
the  same  family.  The  altar-piece  consists  of  five 
parts,  in  the  centre  of  which  St.  Jerome  is  repre- 
sented seated  in  a  landscape,  while  the  others  con- 
tain the  figures  of  St.  Anthony  and  Justina,  John 
the  Baptist,  and  Lucia  on  a  gold  ground.  It  is  a 
very  weak  painting,  quite  in  the  style  of  the  Viva- 
rini,  which  could  easily  be  taken  for  an  early  work 
of  Gregorio  Schiavone,  one  of  Squarcione's  pupils. 
The  Berlin  Madonna  is  not  much  better  as  a 
painting,  but  it  shows  quite  a  different  style,  and 
betrays  a  great  superiority  in  the  fresh  naturalistic 
motive  of  the  composition,  which  is,  however,  obvi- 
ously borrowed  from  Donatello.  The  Child,  as  if 
frightened  by  something  unaccustomed,  with  a 
violentmovement  takes  refuge  in  his  mother's  arms. 

These  weak  pictures  of  quite  an  obsolete  man- 
ner— painted  at  a  time  when  Mantegna  had  already 
given  the  first  imposing  proof  of  his  extraordinary 
talent— do  not  enable  us  to  believe  that  their  author 
should  be  regarded  as  the  creator  of  a  new  style. 
The  great  difference  between  the  two  paintings  has 
been  universally  remarked,  and  must  suggest  to  UB 
the  suspicion  that  both  pictures  may  have  been  exe- 
cuted, not  by  Squarcione  himself,  but  by  two  of  his 
many  assistimts.  The  following  facts  and  consider- 
ations confirm  the  supposition  that  Squarcione, 
recognized  even  by  his  admirers  as  a  feeble 
painter,  used  to  take  the  works  of  his  pupils  under 
his  own  name,  and  he  was  not  so  much  the  artistic 
as  the  business  head  of  his  workshop. 

In  1443  the  decoration  of  a  chapel  in  the  church 
of  the  Eremitani  at  Padua  was  committed  to 
Squarcione,  who,  however,  as  we  learn  from  docu- 
ments and  from  the  work  itself,  did  not  himself 
execute  the  frescoes,  but  entrusted  them  to  his 
pupils,  especially  to  the  young  Mantegna.  We 
know  that  as  oarly  as  1448,  when  Mantegna  was 
only  seventeen  years  old,  Squarcione  made  a  con- 
tract with  him  for  common  work,  which  after- 
wards (1455)  on  Mantegna's  demand  was  declared 
by  the  court  of  justice  null  and  void  because  he  then 
was  still  a  minor,  and  because  he  had  been  deceived 
in  the  contract.  Mantegna  meantime  had  with- 
drawn himself  from  the  dependence  of  Squarcione, 
and  entered  in  artistic  and  personal  connection 
with  his  master's  rival,  Jacopo  Bellini,  whose 
daughter  he  married.  For  this  he  incurred  the 
enmity  of  his  late  master,  who  is  said  to  have  blamed 
very  violently  Mantegna's  work  in  the  chapel  of 
the  EremitanL  From  an  agreement  between 
Pietro  Calzetta,  one  of  Squarcione's  pupils,  and 
Bernardo  Lazzara  in  1466  we  learn  that  the  draw- 
ing of  Squarcione  which  had  to  serve  as  the  sketch 
for  Calzetta 's  painting  was  really  not  by  the  hand 
of  the  master  but  of  that  of  Niccol6  Pizzolo,  one  of 


francp:sco  souarcionk 


H,iiiJ\t.uii;l  pholo^ 


THE  MADONNA  AND  CHILD 


Jkrhn  (ialieiy 


PAINTERS  AND  ENGRAVERS. 


his  most  talented  assistants.  Of  a  similar  origin 
may  have  been  the  drawings  which  Squarcione 
delivered  in  1462  to  the  Canoxi  di  Lendinara  for  the 
choir  stalls  of  11  Santo.  Within  the  limits  of 
Squarcione's  talents  may  have  been  works  of  the 
character  of  the  two  plans  of  Padua,  which  he  exe- 
cuted for  the  government  of  Venice,  and,  as  we  have 
seen,  for  the  municipality  of  his  native  town.  We 
can  conclude  from  all  this  that  Squarcione,  far  from 
being  a  creating  and  inspiring  artist,  was  obliged 
to  maintain  the  credit  of  his  workshop  by  abusing 
the  talents  of  his  young  assistants.  Moreover, 
nearly  all  important  commissions  for  paintings  at 
Padua  seem  to  have  been  in  his  time  entrusted  to 
foreigners.  Very  eloquent  also  is  the  silence  of  the 
most  important  and  learned  contemporary  historian 
of  Padua,  Michele  Savonarola,  who  wrote  in  1440,  as 
regards  Squarcione,  whom  not  once  does  he  men- 
tion as  an  artist.  It  would  seem,  therefore,  that 
Squarcione  obtained  his  reputation  as  a  painter  and 
a  teacher  only  very  late  in  life.  The  account  of 
his  theoretical  method  of  teaching  his  pupils  by 
models  of  antique  statues — a  method  so  contrary 
to  the  practical  and  naturalistic  sense  of  the 
Quattrocento  as  conformable  with  the  academical 
spirit  of  the  late  Cinquecento — is  evidently  the 
work  of  the  historical  reconstruction  of  Vasari  and 
of  the  local  patriotism  of  Scardeone. 

Squarcione  may  have  been  an  art-loving  and 
learned  man  and  a  clever  manager  of  artists.  His 
external  position  and  his  interest  for  antiquities 
made  him  very  properly  to  be  accepted  as  the 
educator  of  his  adopted  son  and  his  precursor  in 
the  scientific  and  archaeological  studies  which 
made  Mantegna  celebrated  among  learned  men. 
All  observations  received  concur  to  show  that 
Mantegna  got  the  great  impulses  for  his  develop- 
ment not  from  Squarcione  but  from  Donatello, 
Jacopo  BelUni,  and  from  his  learned  and  anti- 
quarian friends,  and  that  the  Paduan  school  was  not 
the  foimdation  of  Squarcione,  but  obtained  its  stamp 
of  mental  and  artistic  independence  from  Andrea 
Mantegna.  See  Crowe  and  CavalcaseJle,  and 
'Mantegna,'  by  Paul  Kristeller.  p  K 

SQUARCIONE,  Zoppo  di.     Se<?  Zoppo,  Makco. 

SSOLNZEFF,  Fedor  Grigorjevitsch  ;  Russian 
painter  ;  born  April  14,  1801,  at  Jaroslaw  ;  became 
a  pupil  of  the  Petersburg  Academy,  and  sub- 
sequently travelled  abroad  for  purposes  of  study. 
He  was  commissioned  by  the  Emperor  Nicolas  to 
paint  several  historical  pictures  at  Moscow,  and  in 
1876  he  was  appointed  Professor  at  the  Academy 
of  St.  Petersburg.  He  died  there  on  March  5, 
1892. 

SSOTNOWSKI.     See  Sceeta. 

STAAL,  Pierre  Gdstave  Eugene,  painter,  was 
born  at  Vertus,  Marne,  in  1817.  He  entered  the 
ificole  des  Beaux  Arts  in  1838,  and  was  a  pupil  of 
Paul  Delaroche.  He  exhibited  portraits,  chiefly  in 
pastel,  at  the  Salon  from  1839  to  1872,  and  in  1865 
eight  etchings.     He  died  at  Ivry  in  1882. 

STABEN,  Hendrik,  born  at  Antwerp  in  1578, 
is  said  to  have  visited  Venice  when  very  young, 
and  to  have  entered  the  school  of  Tintoretto.  He 
could  not  have  studied  there  long,  however,  for 
Tintoretto  died  before  Staben  reached  his  seven- 
teenth year.  He  does  not  appear  to  have  remained 
long  in  Italy,  but  established  himself  in  Paris, 
where  he  painted  small  interiors,  with  neatly- 
drawn  figures.     He  died  in  1658. 

STABLI,  Adolf,  German  painter ;  born  May  31, 
1842,  at  Winterthur ;  studied  in  Munich  under  A. 
'      VOL.  V.  I 


Lier  and  much  influenced  by  the  Barbizon  School ; 
settled  at  Munich,  where  he  worked  at  landscape, 
some  of  his  subjects  being  chosen  from  Swiss 
scenery,  as,  for  instance, '  After  the  Storm,' '  Parthie 
an  der  Limmat,'  '  tjberschwemmung  bei  Abend- 
dammerung,'  &c.  He  died  at  Munich,  September 
21,1901. 

STACCOLI,  Francesco,  water-colour  painter, 
flourished  in  Rome  at  the  end  of  the  18th  century. 
He  was  a  pupil  of  A.  Maron,  and  copied  much 
from  the  old  masters.     He  died  in  1815. 

STACHOWIGZ,  Michael,  painter,  bom  at  Cracow 
in  1768,  was  a  pupil  of  Molitor.  He  painted  pic- 
tures for  churches  and  afterwards  battle  pictures, 
and  other  scenes  from  Polish  history.  In  1817  he 
became  Professor  at  the  Lyceum  of  S.  Barbara  in 
Cracow,  where  he  died  in  1835. 

STACK,  Josef  MAGNns,  a  Swedish  painter,  born 
at  Sund,  in  1812.  He  studied  at  Stockholm  and 
Munich,  completing  his  education  by  visits  to 
Paris  and  Italy.  He  died  in  1868.  The  following 
pictures  by  him  are  in  the  Stockholm  Gallery : 

A  Sea  View  by  Moonlight.     1847. 

A  View  of  Haarlem  in  Winter.     1848. 

Kiver  Scene  iu  Dalecarlia.     1856. 

Italian  Landscape.     1860. 

STACKELBERG,  Otto  Magnus,  Baron  von, 
antiquarian  draughtsman,  was  born  at  Revel  in 
1787.  He  studied  first  in  Dresden,  and  finished  his 
education  in  Rome  ;  whence,  in  1810,  he  went  with 
an  exploring  party  to  Greece.  The  result  of  their 
researches  was  the  discovery  of  the  remains  of  the 
Temple  of  Apollo  at  Bassge,  which  are  now  in  the 
British  Museum,  and  of  the  .35ginetan  marbles, 
now  in  the  Glyptothek  at  Munich.  Of  all  these 
Stackelberg  made  careful  and  exact  drawings, 
which  he  published  in  1826.  He  also  published  a 
series  of  views  of  modem  Greece,  drawings  of 
Greek  costumes  and  customs,  and  a  work  on  ancient 
Greek  sepulture.  He  travelled  later  in  Italy,  and 
discovered  some  ancient  Etruscan  frescoes,  to 
which  another  book  was  devoted.  He  died  at  St. 
Petersburg  in  1837. 

STACKHOUSE,  J.,  an  English  painter  of  flowers 
and  fruit,  who  practised  in  London  towards  the 
close  of  the  18th  century. 

STADING,  Eveline,  born  at  Stockholm  in  1803, 
was  a  pupil  of  Fahlcrantz.  She  travelled  and  worked 
in  Germany  and  Italy,  but  died  young  in  1829. 

STADLER,  Alois  Martin,  painter,  bom  at  Imst, 
in  the  Tyrol,  in  1792,  studied  at  Innsbruck  and 
Munich,  and  in  Italy.  In  1822  he  settled  in  Munich, 
and  painted  altar-pieces  for  different  towns  in  tlie 
Tyrol,  among  them  an  '  Assumption  of  the  Virgin,' 
for  the  parish  church  at  Imst.  He  died  at  Sterzing 
in  1841. 

STADLER,  Joseph  Constantine,  a  German  en- 
graver, who  worked  from  1780  to  1812  in  London, 
and  engraved  views  in  aquatint.  Among  his  best 
plates  are : 

The  Fire  of  London;  after  Loutherhourg. 

The  Destruction  of  the  Armada  ;  after  the  same. 

The  Picturesque  Scenery  of  Great  Britain ;  six  plates  ; 

after  the  same. 
Views  of  Loudon,  'Westminster,  and  Blackfriars  Bridges ; 

after  Farington. 
Many  plates  for  Combes'  '  History  of  the  Thames.' 
A  series  of  views  of  Schloss  Hobenheim,  Wiirtemberg; 

engraved    in    conjunction    %cith    A'icolas    and    Jlctor 

Ileideloff. 

STAEVAERTS.     See  Stevaert.s. 
STAFFORD,  John  Phillips,  commenced  his  art 
life  as  a  scene  painter  under  Matt  Morgan,  but  even- 

113 


A  BIOGRAPHICAL  DICTIONARY  OF 


tnally  settled  down  to  black-and-white  work  in  con- 
nection with  comic  journalism.  He  was  a  clever 
draughtsman,  and  for  many  years  was  cartoonist 
to  '  Funny  Folks.'  He  also  painted  in  oils,  and 
exhibited  at  the  Royal  Academy,  '  A  Race,'  in 
1877;  'Two  Heads  are  not  always  better  than 
One,'  in  1878  ;  and  '  St.  Valentine's  Day,'  in  1886. 
Stafford  died  in  March  1899,  at  the  early  age  of 
forty-eight.  M.  H. 

STAGNON,  Antoine  Mabie,  draughtsman  and 
engraver,  flourished  in  the  second  half  of  the  18th 
century.  He  was  engraver  of  seals  to  the  King  of 
Sardinia.  Among  his  works  were  forty-three  plates 
of  Sardinian  costumes,  and  two  volumes  of  Sar- 
dinian uniforms.  He  assisted  St.  Non  with  the 
plates  for  his  'Voyage  pittoresque  d'ltalie.'  In 
the  fifth  edition  of  that  work,  Choifard's  name  was 
substituted  for  his  on  two  of  the  plates,  Xos.  36 
and  38,  and  Stagnon  published  an  indignant  pro- 
test in  '  Les  Nouvelles  de  la  R6publique  des  Lettres 
et  des  Arts,'  for  May  1779,  claiming  their  sole 
authorship. 

STAINIER,  R.,  an  English  engraver,  who  prac- 
tised in  London  towards  the  close  of  the  18th  cen- 
tury. He  was  chiefly  engaged  on  portraits,  but  occa- 
sionally engraved  subject  pictures,  such  as  'Lindor 
and  Clara,'  and  '  Cleopatra,'  both  after  Wheatley. 

STALBEMT,  Adriaan  van,  (Staelbent,)  a 
Flemish  painter  and  engraver,  was  born  at  Antwerp 
in  1580.  He  painted  landscapes  with  small  figures, 
in  a  style  resembling  that  of  Brueghel ;  also  in- 
teriors with  historical  subjects.  He  practised  for 
a  time  at  Middelburg,  and  visited  England  in  the 
reign  of  Charles  I.,  and  is  noticed  by  Walpole 
under  the  name  of  Stalband.  He  painted  a  '  View 
of  Greenwich,'  and  is  said  to  have  returned  rich  to 
Antwerp.  Vandyck  painted  a  portrait  of  Stalbemt, 
which  was  engraved  by  Pontius.  Stalbemt  has  left 
an  etching  representing  the  ruins  of  an  English 
Abbey,  with  cattle  and  sheep.  It  is  signed.  He 
died  at  Putte,  in  Brabant,  in  1662.  Works: 
Amsterdam.  Jiijksmuseiim.  A  "S^ooded  Landscape. 
Antwerp.  Museum.     A  Landscape. 

Berlin.  „  Adoration  of  the  Shepherds. 

Cassel.  Gallery.     Landscape. 

Copenhagen.  „  A  View  of  Antwerp. 

Dresden.  „  Olympic  Games. 

„  „         Judgment  of  Midas. 

Frankfort.  „  Consecration  of  a  Church. 

Madrid.  Museum.    David's   Triumph    over    Go- 

hath. 

STAMM,  Johann  Gottlieb  Samuel,  was  born  at 
Meissen  in  1767.  He  practised  as  a  copyist  at 
Dresden,  but  also  etclied  after  Klengel,  Dietrich, 
and  others.     He  died  in  1828. 

STAMPART,  Frans,  born  at  Antwerp  in  1675, 
was  a  scholar  of  the  younger  Tysseni?,  and  a  student 
of  Vandyck.  He  bad  acquired  a  reputation  as  a 
portrait  painter  in  his  native  city,  when  he  was 
invited  to  Vienna  by  the  Emperor  Leopold,  who 
appointed  him  his  principal  painter,  in  which  office 
he  was  confirmed  by  Charles  VI.  He  died  at 
Vienna  in  1750. 

STANFIELD,  George  Clarkson,  son  of  William 
Clarkson  Stanfield,  was  born  in  London  in  1828. 
He  was  a  pupil  of  his  father,  but  was  gifted  with 
very  little  talent.  He  exliibited,  from  1844  to 
1876,  continental  landscapes,  marine  subjects,  and 
views  of  towns.     He  died  at  Hampstead  in  1878. 

STANFIELD,  William  Clarkson,  painter,  was 
born  at  Sunderland  in  1793.  His  father,  James 
Stanfield,  was  an  Irishman  of  a  certain  reputation 
as  a  writer,  and  author  of  an  '  Essay  on  Biography.' 


William  Stanfield  began  life  as  a  sailor,  and  showed 
an  early  taste  for  art,  drawing  and  sketching  ships 
and  marine  views,  and  painting  scenery  for  plays 
performed  on  board  ship.  During  one  of  his 
voyages  to  Guinea  he  became  acquainted  with 
Thomas  Clarkson,  and  a  warm  friendship  sprang 
up  between  them,  in  token  of  which  Stanfield 
adopted  the  abolitionist's  surname.  Whilst  serving 
as  a  clerk  in  the  navy,  Stanfield's  talent  attracted 
the  notice  of  Captain  Marryat,  the  novelist,  who 
was  the  first  person  to  recommend  him  to  art  as  a 
profession.  In  1816  he  was  temporarily  disabled 
by  a  fall  on  an  anchor,  and  getting  his  discharge 
in  1818,  he  made  a  fresh  start  as  scene-painter  at 
the  Old  Royalty  in  Wellclose  Square,  a  theatre 
much  frequented  by  sailors.  His  reputation  grow- 
ing steadily,  he  obtained  engagements  successively 
at  the  Coburg  Theatre,  Her  Majesty's,  and  Drury 
Lane  ;  an  early  acquaintance  with  Douglas  Jer- 
rold  proved  of  much  service  to  him  at  this  period 
of  his  career.  Whilst  occupied  with  his  profession 
he  at  the  same  time  painted  a  number  of  small  sea- 
pieces,  and  became  known  in  London  as  a  pro- 
mising marine  painter.  In  1824  he  was  elected  a 
member  of  the  Society  of  British  Artists,  with  whom 
he  had  exhibited  the  previous  year.  A  large  sea- 
piece,  painted  in  1827,  and  exhibited  at  the  British 
Institution,  '  Wreckers  off  Fort  Rouge,'  attracted 
considerable  attention.  In  1829  he  sent  his  first 
picture  to  the  Academy,  a  'View  near  Chilon-sur- 
Saone,'  and  encouraged  by  its  favourable  reception 
and  by  a  premium  of  fifty  guineas  from  the  British 
Institution,  be  gave  up  scene-painting  to  devote 
himself  to  easel  pictures,  and  started  on  a  conti- 
nental tour,  the  fruits  of  which  were  shown  in 
pictures  exhibited  during  the  two  following  years  : 
'  Venice,'  '  Strasburg,'  '  A  Honfleur  Fisherman,'  &c. 
A  fine  example  of  his  art  is  the  '  Jlount  St.  Michael, 
Cornwall,'  which  was  exhibited  in  1830  at  the 
Academy,  and  ensured  his  election,  in  1832,  as  an 
Associate.  Three  years  later  he  rose  to  full 
membership,  and  having  resigned  his  connection 
with  the  Society  of  British  Artists,  became  a  con- 
stant exhibitor  in  Trafalgar  Square  up  to  the  year 
of  his  death,  sending  altogether  132  pictures  to 
the  Academy  exhibitions.  In  1836  he  completed  a 
large  '  Battle  of  Trafalgar,'  for  the  Senior  United 
Service  Club,  having  previously  been  brought  pro- 
minently before  the  public  by  a  commission  from 
William  IV.  to  paint  'Portsmouth  Harbour,'  and 
tlie  '  Opening  of  New  London  Bridge.'  To  these 
large  spectacular  works  Stanfield's  manner  was 
peculiarly  adapted.  In  his  easel  pictures  he  could 
never  entirely  free  himself  from  the  influences  of' 
the  theatre,  and  his  best  landscapes  are  marred  by 
a  cold  staginess  of  effect  and  of  treatment. 
His  pictures  were  greatly  admired  in  their  day, 
but  their  reputation  has  waned,  and  is  not  likely 
to  revive.  Among  important  works  executed  by 
him  on  commission,  we  may  mention  a  series  of 
large  pictures  painted  for  the  Banqueting-room 
at  Bowood,  and  another  series  for  Trenthani 
Hall.  A  visit  to  Italy  in  1839  resulted  in  the 
painting  of  a  number  of  views  of  Italian  scenery, 
of  which  the  'Castello  d'Ischia,  from  the  Mole' 
(1841),  and  '  Isola  Bella,  Maggiore'  (1842),  are 
notable  examples.  He  also  frequently  treated 
Dutch  coast  scenery,  and  published  a  series  of 
lithographic  views  of  the  Rhine,  the  Meuse,  and 
the  Mosefle,  and  a  number  of  coast  views  in  Heath's 
'Annual.'  His  health  gradually  declined  towards 
ths  close  of  his  life,  but  he  continued  to  work  with 


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PAINTERS  AND  ENGRAVERS. 


unabated  industry,  exhibiting  at  the  Academy  in 
the  year  of  hia  death,  which  took  place  at  Hamp- 
stead,  May  18,  1867.  He  was  buried  in  S.  Mary's 
Roman  Catholic  cemetery  at  Kensal  Green.  A 
large  number  of  his  pictures  were  included  in  the 
winter  exhibition  at  Burlington  House  in  1870. 
Among  his  other  works  we  may  name : 

London.  Nat.  Gal.    Entrance  to  the  Zuyder  Zee, 

Texel  Island.     (Ex.  1844.) 
„  „  Battle  of  Trafalgar.     {Sketch 

for  the  large  picture  painted 
for  the  Senior  United  Ser- 
vice Club.     Ex.  1836.) 
„  „  Lake  of  Como. 

„  „  Canal  of  the  Giudecca,  and 

Church    of     the    Jesuits, 
Venice.    (1S36.) 
S.  Kensington.      Museum.    Near  Cologne.     (1829.) 

„  „  Market  Boat  on  the  Scheldt. 

(Ex.  1826.) 
„  „  Sands  near  Boulogne.    (Ex. 

1838.) 
„  „  Town  and  Castle  of  Iscliia. 

Port-na-Spania,  near  the  Giant's  Causeway,  Antrim, 
with  the  Wreck  of   the   Spanish  Armada.      {.Urs. 
Thwaitcs.) 
The  Abandoned.     {Earl  of  Northhrooh.) 
Capture  of  Smuggled  Goods.     (Dugdale  Collection.) 
Tilbury  Fort— Wind  against   Tide.      {Tattersall   Col- 
lection. ) 
Battle  of  Roveredo.     {Royal  Holloway  College,  Egham^ 

STANGE,  Bernhabd,  painter,  born  at  Dresden, 
July  24,  1807.  He  was  intended  for  the  profession 
of  the  law,  and  studied  for  a  time  at  Leipsic  Uni- 
versity, but  his  admiration  for  Rottniann  and  Kahl 
caused  him  to  devote  himself  to  art.  His  Hrst 
works  were  poetical  landscapes,  which  had  a  great 
popularity  in  his  native  country.  His  '  Morning 
Bell,'  in  particular,  had  such  success,  that  he  re- 
peated it  twenty  times.  In  1849  he  went  to  Venice, 
where  he  hegan  moonlight  scenes,  for  which  he 
became  famous.  Later  he  painted  many  historical 
and  genre  pictures.  He  died  in  1880  at  Sindelsdorf, 
a  village  in  the  Bavarian  Higlilands  to  which  he 
had  retired.  There  are  several  of  his  pictures  in 
the  New  Pinakothek,  Munich,  and  one  in  the 
possession  of  Queen  Victoria. 

STANLEY,  Caleb  Hobekt,  landscape  painter, 
bom  about  1790,  studied  in  Italy  and  practised  in 
London.  Ho  painted  in  oil  and  water-colours, 
and  exhibited  at  the  Academy  from  1820  to  1863. 
He  died  in  London  in  1868.  There  are  three  of 
his  landscapes  in  the  Soutli  Kensington  Museum. 

STANLEY,  Harold  Johk,  painter,  was  born  at 
Lincoln  in  1817.  He  studied  at  Munich  under 
Kaulbach.  In  1845  he  painted  '  King  Alfred  with 
his  Code  of  Laws.'  He  afterwards  travelled  and 
painted  in  Italy.  For  the  'Ludwig's  Album'  he 
made  a  series  of  drawings  illustrating  'Some 
Y'ears  of  an  Artist's  Life.'  He  died  at  Munich  in 
1867. 

STANLEY,  Montague,  landscape  painter,  was 
bom  at  Dundee  in  1809.  Losing  his  father  when 
young,  he  spent  a  wandering  childhood  with  his 
mother,  visiting  New  York,  Nova  Scotia,  and 
Jamaica  before  he  was  ten  years  old.  At  the  age 
of  eight  he  played  the  part  of  '  Ariel,'  and  up  to 
the  year  1838  he  followed  the  theatrical  profession, 
in  which  he  obtained  a  considerable  reputation. 
From  conscientious  motives  he  quitted  the  stage 
and  devoted  himself  to  art,  receiving  instruction 
from  J.  W.  Ewbank.  He  rapidly  rose  in  public 
estimation,  and  was  elected  an  Associate  of  the 
Scottish  Academy.  He  died  in  the  island  of  Bute 
in  1844. 

IS 


STANNARD,  Alfred,  a  brother  of  Joseph 
Stannard,  born  at  Norwich  in  1806,  where  he  died 
in  1889.  He  was  connected  with  the  Norwich 
School  of  Art,  and  his  landscapes  represent  local 
scenery  almost  exclusively,  the  very  few  exceptions 
being  scenes  painted  in  Holland.  He  was  not  as 
important  as  his  brother  Joseph,  but  his  work  is 
esteemed,  and  is  marked  by  some  poetic  charm. 
He  died  in  1889. 

STANNARD,  Alfred  George,  the  son  of  Alfred 
Stannard,  also  a  painter  of  landscapes,  the  date  of 
whose  birth  was  about  1864,  and  who  died  in  1885. 
He  was  trained  by  his  father,  and  his  works  have 
considerable  charm,  and  by  some  critics  are  con- 
sidered to  exceed  his  father's  in  beauty. 

STANNARD,  Joseph,  landscape  and  marine 
painter,  was  born  in  1797  at  Norwich,  where  he 
afterwards  practised.  He  was  a  pupil  of  Robert 
Ladbrooke,  and  also  studied  for  a  time  in  Holland. 
He  was  a  member  of  the  Norwich  Society  of  Artists. 
His  works  are  chiefly  coast  and  river  scenes,  with 
some  portraits.  He  also  published  a  set  of  etchings. 
He  died  in  1830.  His  most  important  picture  was 
one  of  the  annual  '  Water  Frolic '  at  Thorpe,  in 
which  he  introduced  many  portraits. 

STANTON,  Clare,  born  at  Birmingham  in  1832, 
was  educated  there,  and  studied  at  the  Birmingham 
School  of  Art.  He  early  manifested  a  love  of 
drawing  and  modelling,  and,  although  destined 
for  a  business  career,  was  allowed  to  follow  his 
bent,  and  obtained  employment  as  designer  and 
modeller  with  the  well-known  firm  of  Elkington 
and  Co.,  who  sent  him  to  Italy  to  study.  In  1855 
he  came  to  Edinburgh,  and  in  1857  began  to 
exliibit  at  the  Royal  Scottish  Academy,  sending 
'  The  Ivy  Wreath '  (a  nude  study)  and  some 
medallion  portraits.  He  did  many  illustrations 
for  the  publishing  firms  of  Nelson,  Nimmo  and 
Ballantyne,  and  produced  many  designs  for  cups, 
statuettes  and  plate  for  silversmiths.  His  work 
attracted  much  attention,  and  he  was  elected  an 
Associate  of  the  Royal  Scottish  Academy  in  1862, 
becoming  a  full  Academician  in  1883.  In  1881 
he  was  appointed  Curator  of  the  Academy's  Life 
School.  His  plastic  work  is  marked  by  refinement 
rather  than  strength,  and  in  reliefs  he  especially 
excelled.  His  oil  and  water-colour  paintings, 
although  somewhat  conventional  in  style,  are  well 
drawn  and  pleasing  in  colour.  His  diploma  work, 
'Eurydice'  (a  high  relief  in  plaster),  is  in  the 
Scottish  National  Gallery,  and  in  the  Glasgow 
Corporation  Gallery  hangs  a  water-colour  'Girl 
with  Emit.'     He  died  in  1894.  J.H.W.L. 

STANTON,  Thomas,  landscape  painter,  born 
about  the  middle  of  the  18th  century.  He  practised 
in  London,  painting  views  in  which  he  generally 
introduced  architecture.  A  'View  of  Stonyhurst 
CuUe^e '  by  him  was  engraved  by  Middiman. 

STANZIONI,  Massimo,  painter,  born  at  Naples 
in  1585,  was  a  pupil  of  Giovanni  Battista  Carao- 
ciolo,  but  received  some  instruction  in  fresco  from 
Belisario  Corenzio.  When  Lanfranco  visited 
Naples,  Stanzioni  profited  by  his  lessons,  and  also 
by  those  of  Fabrizio  Santafede.  He  afterwards 
visited  Rome,  where  he  applied  himself  to  study 
the  works  of  Annihale  Carracci,  and  formed  an 
intimacy  with  Guido.  On  his  return  to  Naples 
he  displayed  an  ability  that  enabled  him  to 
compete  with  the  ablest  of  his  contemporaries. 
There  existed  between  Stanzioni  and  Spagnoletto 
a  jealousy  and  animosity  which  led  the  latter  into 
the  commission  of  a  disgraceful  piece  of  treachery, 

115 


A  BIOGRAPHICAL  DICTIONARY  OP 


Paris. 

Vienna. 


Trinity  (hi  Pelleyyini. 

Pal.  Caisaro. 

Louvre. 

Liechtenstein  Gal. 


Ijanzi  reports  that  Stanzioni  had  painted  an  altar- 
piece  at  the  Certosa  representing  the  dead  Christ 
witli  the  Marys,  in  competition  with  Ribera's  '  De- 
position from  the  Cross.'  Stanzioni's  picture  hav- 
ing turned  somewhat  lower  in  tone,  Spagnoletto 
recommended  the  monks  to  permit  him  to  clean  it, 
when  he  made  use  of  some  spirit  or  acid  by 
which  the  beauty  of  tlie  work  was  entirely  de- 
stroyed. The  fathers  applied  to  Stanzioni  to  repair 
it,  which  he  refused  to  do,  declaring  it  should 
remain  as  it  was,  that  such  perfidy  might  be 
exposed.  Among  his  other  works  at  Naples  are 
the  ceilings  of  the  churches  of  S.  Paolo  and  del 
Gesii  Nuovo,  his  best  frescoes,  and  a  large  '  S.  Bruno 
presenting  the  Regulations  of  his  Order  to  hia 
Monks '  at  the  Certosa.  He  also  painted  many  easel 
pictures  for  private  patrons  at  Naples.  Stanzioni's 
works  are  distinguislied  above  tliose  of  his  con- 
temporaries by  nobility  of  conception,  simplicity 
of  feeling,  and  purity  of  line.  He  formed  many 
Bcliolars,  among  them  Dom.  Finoglia  and  Gins. 
Marullo.     He  died  in  1656.     Other  works  : 

Dresden,  Gallery.    A  Genius. 

Naples.  S.  Martino.     Last  Supper. 

Legend  of  S.  Bruno. 

S.  Emidio. 

Cleopatra. 

S.  Sebastian. 

Virgin  and  Child. 

STAPLEAUX,  IMiCHEL  Ghislain,  painter,  born 
at  Brussels  in  1799.  He  was  a  pupil  of  David. 
He  painted  historical  and  genre  pictures,  and  por- 
traits. He  painted  a  'Napoleon  at  St.  Helena,'  and 
portraits  of  otlier  members  of  the  Bonaparte  family. 
His  '  Prodigal  Son '  is  at  Prague.  Several  pic- 
tures by  him  are  in  the  collection  of  tlie  King  of 
Wiirtemberg  and  Prince  Peter  of  Oldenburg.  He 
died  in  1881. 

STAR.     See  Stella. 

STAR,  DiRCK  VAN,  (Staren,)  a  Dutch  engraver, 
who  flourished  in  the  middle  of  the  16th  century. 
He  is  sometimes  called  a  little  master,  although 
not  one  of  the  seven  men  more  strictly  associated 
with  the  title.  His  drawing  of  the  figure  is  good, 
with  well-marked  extremities.  His  prints  are  dated 
from  1520  to  1550.  He  usually  marked  them  with 
the  initials  D.  and  V.  divided  by  a  star,  to  which 

The  following  are  among  the  best  of  his  very 
numerous  plates  : 

1.  Eve  and  the  little  Cain,  1522,  A.  G.  (Auimsti)  19. 

2.  Tlie  Deluge  ;  1544. 

3.  Christ  calling  Peter  and  Andrew,  1523,  Mey  30. 

4.  St.  Peter  walking  on  the  Water,  1525,  Des.  30. 

5.  Christ  tempted  by  the  Demon,  1525. 

6.  Christ  and  the  Woman  of  Samaria,  1523. 

7.  The  Virgin  and  S.  Anne,  1522,  D.  C.  (Decemlris)  31. 

8.  St.  Bernard,  1524,  Oct.  3. 

9.  St.  Luke  painting  the  Virgin,  1526.    In  Juli.  28. 

10.  St.  Elisabeth,  1524,  Kove.  15. 

11.  Venus,  1524,  Oct.  20. 

12.  The  Faun,  1522,  tiept.  14. 

13.  Man  with  a  chimerical  Fish,  1522,  A.  G.  16. 

14.  The  Goldsmith,  no  date. 

15.  The  Man  Asleep,  1532,  Oct.  10. 

16.  The  Drunken  Drummer,  1525.  Mert.  8. 

17.  The  Drummer  and  a  Child,  1523,  Oct.  14. 

18.  The  Man  holding  a  Shield  of  arms,  1522, 

19.  TheWoman  holding  an  Escutcheon  ;  lozenge;  1525. 

20.  St.  Christopher. 

21.  A  wood-cut  of  an  Interior,  with  a  Gallery,  and 
numerous  Figures.  The  mark  near  the  middle, 
152S  on  the  left. 

116 


he  generally  added  the  date,  thus  : 


Whether  the  initials  D.  V.  with  a  starling  between 
them,  and  the  letters  D.  V.  separated  by  an  asterisk 
in  the  upper  part,  belong  to  this  engraver  or  not, 
is  a  matter  of  dispute. 

STAREN,  DiEK  van,  engraver,  flourished  circa 
1520-1550,  believed  to  have  come  from  the  neigh- 
bourhood of  Kampen.  He  signs  with  D.  V.  and 
a  star  (hence  called  Master  of  the  Star),  and  his 
plates  nearly  all  bear  the  date  and  day  of  the 
month  when  they  were  completed.  His  device  is 
met  with  also  on  woodcuts  and  in  stained  glass. 

STARK,  James,  landscape  painter,  was  born  at 
Norwich,  November  19th,  1794.  He  was  the  son 
of  one  Michael  Stark,  a  Scotchman,  who  had  settled 
at  Norwich,  where  he  had  a  dye-works.  James 
studied  under  Crome  for  three  years,  and  then  went 
to  London,  where  he  entered  the  Royal  Academy 
in  1817.  His  first  work  was  '  Boys  Bathing.' 
After  a  time  a  painful  affliction  compelled  him  to 
return  to  Norwich,  where  he  had  to  abandon  paint- 
ing entirely  for  some  three  years.  As  he  became 
stronger  in  health,  he  began  to  take  part  energetic- 
ally in  the  exhibitions  of  the  Norwich  Society  of 
Artists,  to  which  he  had  been  elected  as  early  as 
1812.  He  was  also  a  frequent  exhibitor  at  the 
Academy  and  at  the  British  Institution,  where,  in 
1818,  he  had  won  a  premium  of  £50.  In  1821  he 
married  Elizabeth  Dinmore,  and  moved  to  Yar- 
mouth for  a  time.  He  soon  returned,  however,  to 
the  cathedral  city,  and  there,  in  1827,  he  began 
the  publication  of  his  '  Scenery  of  the  Rivers  Yare, 
Waveney,  and  Bure,'  Shortly  afterwards  he 
migrated  to  London,  moving  on,  in  1839,  to 
Windsor,  where  he  lived  and  painted  for  ten  years. 
Returning  for  the  last  time  to  London  in  1849,  he 
died  there,  in  Mornington  Place,  Regent's  Park,  on 
March  24th,  1859.  A  collection  of  his  pictures 
was  shown  at  Norwich  in  1887.  Stark's  reputation 
has  suffered  from  the  frequent  ascription  of  his 
better  pictures  to  Crome,  and  from  the  attribution 
to  him  of  inferior  works  of  the  Norwich  school. 
The  following  examples  of  his  art  are  in  English 
public  collections : 

Edinburgh,        Kat.  Gal.    Gowbarrow  Park, 
London.  „  The  Valley  of  the  Yare   (^wr- 

haps  liii  masterpiece). 
„  &  Kensington.     Landscape — AVoody  Lane  near 

Hastings. 
,,  ,,  Distant  View  of  Windsor. 

{And  others  in  circulation.) 
Sheffield.     Mappin  Gal.    Landscape  with  Cattle. 

His  son  Arthur  is  a  landscape  and  animal  painter. 

STARK,  Jo.SEPn,  born  at  Graz  in  1782,  first 
studied  theology,  and  then  law,  and  afterwards 
painting  at  the  Vienna  Academy,  In  1817  he 
became  director  of  the  Academy  at  Graz,  In  1826 
he  travelled  in  Italy,  and  produced  several  portraits 
and  historical  pictures.  He  etched  several  plates 
after  his  own  pictures,  among  them  a  '  Christ  in  the 
House  of  Martha  and  Mary,'  which  is  in  the 
Academy  at  Venice,     He  died  at  Graz  in  1838, 

STARNINA,  Gherardo,  painter,  born  at  Florence 
in  1354  (?),  was  a  disciple  of  Antonio  Veneziano. 
He  is  entered  on  the  lists  of  the  Painters'  Guild,  in 
1387,  as  Gherardo  d'Jacopo  Stama.  He  painted 
history  in  the  stiff  style  which  prevailed  at  the  early 
period  at  which  he  lived.  Vasari  reports  that  he 
was  invited  to  the  court  of  Spain,  where  he  painted 
some  pictures  for  the  king,  for  which  he  was 
well  paid.  Among  the  few  works  of  his  at 
Florence  which  have  escaped  the  ravages  of  time, 
is  a  '  Dying  St.  Jerome  delivering  his  doctrines  to 


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PAINTERS  AND  ENGRAVERS. 


his  disciples,'  in  the  church  of  S.  Croce.  Some 
ecenes  from  the  life  of  the  Virgin,  in  a  chapel  of  the 
cathedral  at  Prato,  are  partly  attributed  to  Stamina. 
He  is  supposed  to  have  been  the  master  of  Masolino 
da  Panicale.     He  died  at  Florence  in  1408  ? 

STARRENBERG,  Johann,  was  born  at  Gron- 
ingen,  and  flourished  from  the  year  1650  to  1670. 
He  painted  historical  subjects,  and  frescoed 
ceilings. 

STATTLER,  Albert  Cornel,  painter,  was  born 
at  Cracow  in  1800.  He  was  a  pupil  of  Lampi,  but 
went  in  1817  to  Rome,  where  he  studied  at  the 
Academy  of  St.  Luke,  and  came  under  the  influence 
of  Overbeck.  He  painted  historical  subjects  and 
portraits  and  died  at  Rome  in  1870. 

STAUFFER,  Karl,  Swiss  painter  and  engraver  ; 
born  September  2,  1857,  at  Triibschachen ;  studied 
engraving  with  Raab  and  Hahu  in  Munich,  and 
afterwards  in  Berlin.  At  first  he  worked  at  oil- 
painting,  but  exchanged  this  for  engraving,  in 
which  he  bid  fair  to  reach  a  high  level  of  excel- 
lence. Of  bis  plates  we  may  mention  his  '  Portrait 
of  his  Mother,'  portraits  of  Adolf  Menzel,  Gustav 
Freytag,  Kiihn,  Keller,  and  others.  His  best 
work  can  be  studied  in  the  Dresden  and  Berlin 
Collections.  He  died  at  Florence,  January  26, 
1891. 

STAVEREN,  Johan  Adriaensz  van,  flourished 
about  1600,  and  if  not  a  pupil,  was  a  close  imitator 
of  Gerard  Dou.  His  favourite  subject  was  a  hermit 
contemplating  a  skull,  reading  a  book,  or  at  hia 
devotions  before  a  crucifix.  As  the  scene  is 
generally  the  entrance  of  a  grotto  in  a  wild  locality, 
he  introduces  the  trunk  of  an  old  tree  covered 
with  ivy  or  moss.  His  execution  is  as  elaborate 
as  that  of  Gerard  Don,  but  his  bandhng  is  not  so 
clear  and  fluent.  Works  : 
Amsterdam.  B, Museum.  An  Old  Man  Praying. 
„  „  A  Hermit. 

„  „  The  Schoolmaster, 

Copfnhagen.         Gallery.     Woman  Sewing. 
Paris.  Louvre.    A  Savant  in  his  Study. 

Dutch  writers  mention  three  other  artists  of  this 
name,  Paul,  Jacob,  and  E. ;  Paul  and  E.  are  also 
said  to  have  been  pupils  of  Gerard  Dou  ;  Jacob  was 
a  painter  of  fruit  and  flowers  ;  they  all  lived  from 
about  1660  to  1700.  Laborde  mentions  a  mezzotint 
of  a  Man  counting  Money,  signed  P.  Straveremts. 

STAYLER,  Alen,  illumined  the  choir  books 
for  the  Abbey  of  St.  Alban's,  in  the  reign  of 
Henry  III. 

STAYNER,  J.,  an  English  engraver,  worked  in 
London  towards  the  close  of  the  18th  century. 
Two  line  plates  by  him,  after  Collet,  are  known, 
and  a  few  mezzotints. 

STECH,  Andreas,  a  painter  of  Dantzic  of  the 
17th  century,  painted  for  the  churches  of  Dantzic, 
Oliva,  and  Pepplin.  In  the  Dantzic  cathedral  there 
is  a  'S.  Rosa'  by  him.  He  made  drawings  for 
books  on  botany  and  astronomy,  and  several  por- 
traits by  him  have  been  engraved.  He  died  in 
1697. 

STEELE,  Edward,  nicknamed  'Count  Steele,' 
was  bom  at  Egreraont,  in  Cumberland,  about  1720. 
He  studied  in  Paris,  and  under  an  obscure  painter 
called  Wright.  He  practised  at  Kendal  and  York, 
whence  he  made  tours  in  the  northern  counties, 
painting  portraits  at  a  few  guineas  apiece.  Sterne 
was  among  his  sitters.  In  1756  he  ran  away  with 
a  young  lady  who  was  his  pupil,  in  which  exploit 
he  was  assisted  by  George  Romney,  who  was  at 
that  time  his  scholar.     The  date  of  his  death  is 


unknown,  but  in  1759  his  collection  of  pictures, 
prints,  and  drawings  was  sold  by  auction.  He  is 
said,  however,  to  have  been  living  in  Ireland,  with 
his  wife,  after  that  date. 

STEELL,  GoDRLAY,  son  of  John  Steell,  a  well- 
known  wood-carver,  and  younger  brother  of  the 
sculptor  Sir  John  Steell,  R.S.A.,  was  bom  at  Edin- 
burgh in  1819.  He  was  educated  there,  and  received 
his  art-training  in  the  School  of  the  Board  of 
Manufacturers,  and  also  under  Robert  Scott  Lauder. 
He  began  to  exhibit  at  the  Royal  Scottish  Academy 
at  the  age  of  thirteen.  In  1835  he  showed  a  model 
of  a  bloodhound,  and  thenceforward  exhibited 
regularly.  He  was  a  great  lover  of  animals,  studied 
their  every  pose  and  movement,  and  drew  them 
with  admirable  fidelity  and  vigour,  so  as  often  to 
be  called  the  Scottish  Landseer.  He  did  a  good 
deal  of  book  illustration  in  his  early  years  and 
modelled  animals  with  skill,  many  of  his  designs 
being  reproduced  in  silver  by  Edinburgh  silver- 
smiths. He  was  for  some  years  a  successful  teacher 
of  modelling,  in  succession  to  his  father,  at  the 
Watt  Institute  at  Edinburgh.  He  rapidly  attained 
eminence,  and  was  much  in  request  to  paint  animal 
portraits,  and  also  for  decorative  works  on  a  large 
scale  in  oil,  charcoal,  and  tempera.  His  charcoal 
drawings  have  much  merit.  From  1835  till  hia 
death  he  exhibited  regularly  at  the  Royal  Scottish 
Academy,  of  which  he  became  an  Associate  in 
1846,  and  an  Academician  in  1859.  Between  1865 
and  1880  he  also  sent  ten  pictures  to  the  Roj'al 
Academy  in  London.  For  many  years  he  was 
animal  painter  to  the  Highland  and  Agricultural 
Society,  and,  in  1873,  on  the  death  of  Sir  E.  Land- 
seer, was  appointed  animal  painter  to  the  Queen 
for  Scotland,  and  much  of  his  work  is  in  the  Royal 
Collections.  In  1882  he  was  elected  Curator  of 
the  National  Gallery  of  Scotland.  Among  his 
best  pictures  are:  'A  Cottage  Bedside  in  Osborne' 
(which  was  engraved  and  became  exceedingly 
popular),  '  Llewellyn  and  Qelert,'  of  which  the 
Queen  commissioned  a  replica ;  '  The  Highland 
Raid,'  '  Robbie  Burns  and  the  Field  Mouse,'  'Spring 
in  the  Highlands,'  'A  Challenge,'  'The  Pass  of 
Leny  ;  Cattle  going  to  Falkirk  Tryst,'  and  'The 
Trysting  Place'  (in  Glasgow  Corporation  Gallery). 
He  died  at  Edinburgh  on  January  31,  1894.  M,  H, 
STEEN,  Jan,  was  born  at  Leyden  about  1626. 
His  father  was  a  brewer  of  respectable  family, 
and  probably  sufficiently  rich.  He  displayed  an 
early  talent  for  art,  and  was  sent  to  study  in  the 
first  place  underNicholas  Knupfer,  a  German  painter 
of  historical  subjects  settled  at  Utrecht ;  and  from 
him  transferred  to  the  studio  of  Jan  van  Goyen 
at  the  Hague.  Later  on  he  came  under  the 
influence  of  Adriaen  van  Ostade,  at  Haarlem — 
that  is  evident  in  his  principal  works.  While  he 
made  his  studies  under  Jan  van  Goyen,  of  the 
Hague,  he  married  in  1649  his  daughter  Margaretta, 
by  whom  he  had  four,  if  not  five,  children.  The 
details  of  his  life  are  obscure.  "That  he  worked 
hard  is  proved  by  the  number  of  pictures  (more 
than  500)  he  has  left.  That  he  was  improvident 
is  proved  by  the  records  of  executions  for  debt 
which  have  been  discovered  at  Haarlem  by  Mr. 
Van  Willingen,  and  that  his  pictures  sold  at  low 
prices  is  clear  from  a  contract  he  made  to  pay  the 
year's  rent  of  l}is  house  for  1666-67  with  three 
portraits  "painted  as  well  as  he  was  able,"  the 
amount  of  the  rent  being  only  twenty-nine  florins. 
Jan  Steen  was  entered  in  the  Painters'  Guild  at 
Leyden  in  1648,  but  from  1649  till  1654  he  was  at 

117 


A  BIOGRAPHICAL  DICTIONARY  OF 


Amsterdam.  R.  Museum. 


the  Hague.  From  1654  till  1661  he  resided  again 
ftt  Leyden,  and  from  1661  till  1669  at  Haarlem. 
In  that  year  he  returned  to  take  possession  of  hia 
inheritance.  In  1672  he  opened  a  tavern  in  the 
city  at  the  Lange  Brug  (Long  Bridge).  Many  of 
his  pictures  had  been  painted  in  the  interval,  a 
great  part  of  which  he  may  have  spent  at  the 
Hague.  In  1673  he  married  a  second  wife,  Marie 
van  Egmont,  widow  of  Nicolas  Herculens.  A  son 
was  horn  in  1674;  and  five  years  later  Jan  Steen 
himself  died,  and  was  buried  in  the  parish  church 
of  St.  Peter,  at  Leyden,  February  3,  1679,  leaving 
the  house  he  had  inherited  from  his  father  to  his 
widow  and  children. 

A  very  large  proportion  of  the  works  of  Jan 
Steen  are  in  English  private  collections.  The 
annexed  list  is  mainly  restricted  to  pictures  in 
public  Galleries  : 

Portrait  of  Himself. 

Prinsjesdag.  (Fete  of  the  Prince 
of  Orange.) 

The  Feast  of  St.  Nicholas. 

The  Parrot's  Cage. 

A  Village  AVeddiDg. 

The  Merry  Home-coming. 

The  Quack  Doctor. 

Uo.;  another  version. 

The  Baker  Oostwaard  with  his 
Wife  and  the  Paiater's  Sou. 

The  Libertine. 

The  Scullery-maid. 

The  Dancing  Lesson. 

The  Happy  Family. 

The  Sick  Lady. 

After  the  Carouse. 

A  Couple  Drinking. 

The  Sauvegarde  of  the  Devil. 

The  Journey  to  Emmaus. 

Samson  mocked  by  the  Philis- 
tines. 
A  Village  Wedding. 
Garden  of  an  Inn. 
Men  Quarrelling  at  Cards. 
A  Merry  Company. 
The  Rhetoricians. 
The  Operation. 
Twelfth  Night. 
The  Gallant  Offer. 
The  Miser  surprised  by  Death. 
David  returning  with  the  Head 

of  Gohath. 
The  Marriage  at  Cana. 
A  "Woman  feeiiing  a  Child. 
The  Expulsion  of  Hagar. 
A  Village  School. 
The  Sick  Lady. 
The  Painter  and  his  Family. 
The  Doctor's  Visit. 
Human  Life.    (Jan  Steen's  Ale- 
house?) 
The  Painter  and  his  Family. 
A  Doctor  feeling  the  pulse  of  a 

Young  Woman. 
The  Dentist. 
The  Menagerie. 
The  Fete  de  Village. 
The  Music  Ma,ster. 
Man    selling  Fish  at  a  House 

Door. 
A  School  of  Bays  and  Girls. 
Card-playing. 
Kermesse. 
Lady  Dressing. 
Interior  of  an  Ale-house. 

And  others. 
Quarrel  in  a  Tavern. 
Doctor's  Visit. 
Esther  before  Ahasuerns. 
Doctor's  Visit. 
Fete  Champetre. 


Antwerp. 


Berlin. 


Brussels. 


Mit^eum, 


Gallery. 


Museum. 


Copenhagen.     Gallery. 
Dresden.  Gallery. 


Dublin.  Nat.  Gallery. 
Edinburgh.  Nat.  Gall. 
Glasgow.  Gallery. 

Hague.  Museum. 


London      Nat.  Gallery. 
„   Bridgewater  Gall. 

„    Buckingham  Pal. 


Himich.       JPinacothek. 
Petersburg.  Hennitage. 

n  »» 

118 


Petersburg.  Hermitage.  The  Drinkers. 

„  „  The  Sick  Man. 

„  „  The  Tric-trac  Players. 

„  „  Village  Wedding. 

,,  „  Tavern  Scene. 

Rotterdam.      Museum.  The  Pretended  Operation. 

„  „  The  Feast  of  St.  Nichoks. 

Vienna.  Gallery.  A  Village  Wedding. 

„  „  The  Prodigal  Hou.sehold. 

A  Wedding  Party  ;  and  several  others.     (Duke  of  WeU 

lijlfjtOJ}.) 

Doctor  with  Lady;  and  other  pictures.     {Marquis  of 
Lansdowne.)  W.  M. 

STEEN,  Jan,  (of  Alkmaar,)  an  obscure  Dutch 
painter  of  the  18th  century,  who  painted  historical 
and  genre  pictures. 

STEENREI.     See  Stenree. 

STEENWIJCK,  Hendrik  van,  (  Stein wyck,) 
the  elder,  born  at  Steenwijck  in  1550,  was  a  scholar 
of  Jan  Vredeman  de  Vries,  an  artist  of  reputation 
as  a  painter  of  perspectives  and  architectural  views. 
Steenwijck  painted  similar  subjects,  in  which  he  not 
only  surpassed  his  instructor,  but  in  his  own  way 
has  scarcely  been  equalled  by  any  one  who  has 
succeeded  him.  His  pictures  represent  the  interiors, 
usually  Gothic,  of  churches  and  other  buildings. 
He  was  fond  of  painting  torchlight,  with  which,  by 
judicious  chiaroscuro,  he  won  extremely  picturesque 
eiiiects.  His  pictures  are  usually  supplied  with 
figures  by  the  Franckens  and  others.  He  worked 
at  Antwerp  in  1577,  but  in  1679  went  with  Lucas 
and  Martin  Valckenborcht  to  Germany,  and  after- 
wards settled  in  Frankfort.  Pieter  Neefs  was 
among  his  pupils.  He  died  about  1604.  The 
following  are  among  his  better  pictures  : 


Amsterdam.  iJ.  Museum. 
Brussels.  Jfuseum. 

London.       Nat.  Gallery. 
„     Bridgewater  Gal. 


Interior  of  a  Catholic  Church. 
Interior  of  St.  Peter's  Church 

at  Louvain. 
Interior  of  an  Ante-room. 
Interior  of  a  Church  by  Torch- 
light. 

„  Mrs.  Joseph.     Interior  of  a  Church. 

Vienna.  Gallery.    Interior  of  a  Gothic  Church. 

„  „  Dungeon   Interior.      (The   De- 

liverance of  St.  Peter,  dated 
1604.    His  last  knoxcn  leork.) 

STEENWIJCK,  Hendrik  van,  (Steinwtck,) 
the  younger,  the  son  of  Hendrik  Steenwijck,  born 
at  Amsterdam,  or  perhaps  Frankfort,  about  1580, 
was  instructed  by  his  father.  His  pictures  are 
similar  in  subject  to  those  of  the  elder  Steenwijck, 
but  are  usually  on  a  larger  scale.  He  lived  in 
intimacy  with  Vandyck,  who  painted  a  fine  por- 
trait of  him,  of  which  we  have  a  print  by  Pontius. 
He  was  recommended  by  Vandyck  to  the  notice 
of  Charles  I.,  who,  about  1629,  invited  him  to 
England,  where  he  resided  several  years.  In  the 
Whitehall  catalogue  ten  of  the  principal  works  of 
Steenwijck  are  to  be  found.  The  pictures  he  painted 
before  coming  to  England  have  figures  by  Jan 
Brueghel,  Theodore  van  Thulden,  and  others, 
while  he  himself  occasionally  painted  architectural 
backgrounds  to  Vandj-ck'a  portraits.  He  died  in 
London  in  1648.  His  widow,  Susanna,  settled  in 
Amsterdam,  and  became  known  as  a  painter  of 
views,  while  his  son  Nicholas  entered  the  service 
of  Charles  I.,  and  is  believed  to  have  died  in 
England.  The  younger  Steenwijck's  works  are 
often  confounded  with  those  of  his  father.  The 
following  are  good  examples : 

BerHn.  Museum.     The  Prison  {dated  1649). 

Copenhagen.       Gallery.    Interior  of  a  Gothic  Church. 
Dresden.  Gallery.    Three  Church  Interiors,  dated 

respectively  1609, 1611, 1614 


o 
u 


PAINTERS   AND  ENGRAVERS. 


Florence.  Uffizt.    Interior  of  a  Prison,  with  Be- 

heading of  St.  John  Baptist. 

The  Hague.       Museum.    A  Public  Square,  with  Monu- 
ments and  figures. 

London.        J^TidqcKater  \  Interior  of  a  Church  at  Ant- 
Gatlei-y.     j      werp  (figvures  by  Van  Thul- 
deu). 

Madrid.  Gallery.    Christ  brought  before  the  High 

Priest. 
,,  „  The  Denial  of  Peter. 

Paris.  Louvre.     Christ  in  the  House  of  Martha 

and  Mary.     (The  figures  at- 
tributed to  Poelenburgh.) 
„  „  Interior  of  a  Church. 

Vienna.  Oallery.    Two  Church    Interiors ;    and 

Two  Dungeon  Interiors  with 
DeUverance  of  St.  Peter. 

STEENWI.JCK,HERMAN,sonofEvert,a8pectacle 
maker,  was  a  pupil  of  David  Bailly  at  Leiden  ;  in 
1644  he  became  a  member  of  the  Guild  of  St.  Luke 
at  Delft.  In  1654  he  was  in  the  East  Indies,  but 
was  back  at  Delft  in  1655,  and  was  still  living 
there  in  1668.     He  painted  still-life.     W.  H.  J.  W. 

STEENWIJCK,  N1CHOL.4.S,  born  at  Breda  in 
1640,  excelled  in  painting  vases,  musical  instru- 
ments, books,  and  other  inanimate  objects,  and  fish. 
He  died  in  1698. 

STEENWIJCK,  Peter,  brother  of  Herman,  also 
learnt  his  art  under  David  Bailly  at  Leiden  ;  was 
admitted  into  the  Guild  of  St.  Luke  at  Delft  on 
November  10,  1642.  In  1654  lie  was  settled  at 
the  Hague.     He  also  painted  still-life. 

Authority:  Bredius,  in  'Oud  Holland,'  VIII., 
1890.  W,  H.  J.  W. 

STEEVENS,  Richard.    See  Stevens. 

STEFANESCHI,  Giovanni  Battista,  born  at 
Ronta,  near  Florence,  in  1582,  was  a  monk,  and 
is  generally  called  I'Eremita  di  Monte  Senario. 
He  was  instructed  by  Andrea  Comodi,  by  Ligozzi, 
and  by  Pietro  da  Cortona,  and  chiefly  excelled  in 
copying,  in  miniature,  the  works  of  other  painters, 
in  whieii  he  was  much  employed  by  Ferdinand  II., 
Grand  Duke  of  Tuscany.     He  died  in  1669. 

STEFANI,  Benedetto,  a  publisher  and  engraver, 
and  native  of  Verona,  who  flourished  about  1576, 
and  whose  name  is  affixed  to  a  print  in  the  style 
of  .lEnea  Vico,  copied  from  Marc  Antonio's  Battle 
of  the  Lapithse. 

STEFANI,  Pietro  Degli.    See  Degli  Stefani. 

STEFANI,  ToMMAso  Degli.    See  Degli  Stefani. 

STEFANI  DA  FOSSANO,  Amdrogio,  called  also 
Borgognone,  Ambrogio  da  Fossano,  and,  by  Lanzi, 
Ambrogio  Egogni,  was  born  probably  between 
1450  and  1460.  His  birthplace  is  usually  said  to 
have  been  Fossano,  in  Piedmont,  but  he  seems 
rather  to  have  been  born  in  Milan,  for  his  father. 
Stefano,  was  already  called  '  Mediolaneusis,'  or  a 
native  of  Milan.  As  for  his  name  of  Borgognone, 
some  writers,  notably  M.  Rio,  believe  it  to  have 
been  given  in  consequence  of  Flemish  character- 
istics in  bis  art,  others,  among  them  the  commend- 
atore  Morelli,  think  it  due  merely  to  some  ancestor, 
his  father  or  grandfather,  having  lived  for  a  time 
in  Flanders,  which  was  then  called  Borgogna  by 
the  Italians.  Ambrogio's  life  is  so  little  known 
that  Lanzi  divided  him  into  three  different  indi- 
viduals, giving  to  each  one  class  of  his  works. 
His  master  was,  in  all  probability,  Vincenzo  Foppa, 
to  whom  some  critics  would  add  Zenale  and  Butti- 
none.  His  earliest  known  works  date  from  about 
1488.  They  were  painted  for  the  Pavian  Certosa, 
where  Ambrogio  was  at  work  for  some  years.  The 
stalls  and  other  wood-work  in  the  choir  were 
finished  by  Bartolommeo   de'   Polli  from  designs 


furnished  Dy  Borgognone  about  the  year  1490. 
The  latter  returned  to  Milan  in  1494,  in  which 
year  he  was  at  work  at  San  Satiro.  In  1497  he 
was  at  Lodi,  painting  in  the  church  of  the  Incoro- 
nata.  In  1608  he  received  a  commission  for  an 
altar-piece  in  San  Satiro,  Bergamo,  which  is  still 
extant.  In  1512,  as  documents  prove,  he  was 
back  at  Slilan.  In  1524  he  painted  some  scenes 
from  the  legend  of  St.  Sisinius  in  the  portico  of 
San  Simpliciano,  Milan,  which  have  now  dis- 
appeared, and  he  may  have  died  very  soon  after. 
The  date  1535,  which,  it  was  said,  was  upon  an 
'  Assumption'  that  has  now  disappeared  from  the 
church  of  Cremeno,  in  Valsassina,  is  so  much  later 
than  any  other  record  we  possess  of  Ambrogio's 
existence,  that  we  may  put  it  aside,  especially  as 
the  authenticity  of  the  picture  itself  was  doubtful. 
In  Borgognone's  latest  works,  traces  of  Leonardo's 
influence  are  visible,  but  otherwise  he  may  be 
called  the  incarnation  of  the  early  Milanese  spirit 
in  art.  He  was  to  the  Lombard  school  what  Peru- 
gino  was  to  the  Umbrian,  Francia  to  the  Bolognese, 
or  Bellini  to  the  Venetian.  He  had  a  younger 
brother,  Bernardino,  who  often  acted  as  his 
assistant.  ^^-A- 

WORKS  : 

Presentation  in  the  Temple, 
Aunuueiation,  aud  Epi- 
phany. 

Madonna  Enthroned. 

Five  predella  panels. 
)  Virgin  giving  fruits  to  the 
j      infant  Christ. 

Madonna  Enthroned. 

Madonna  Enthroned  with 
Saints  (signed  atnhrosij 
beryogyioni  op^). 

Four  small  predella  panels 
in  oil. 

Marriage  of  St.  Catherine 
of  Alexandria. 

Two  groups  of  family  por- 
traits. 

A  Triptych  (Virgin  and 
Child ;  Agony  in  the 
Garden ;  Christ  bearing 
His  Cross). 

Portrait  of  Bishop  Andrea 
Novelli. 

Frescoes. 

Coronation  of  the  Virgin. 

>  Ceiling  of  the  Sacristy. 

Christ  disputing  with  the 
Doctors. 

Clirist  after  His  Resurrec- 
tion. 

Madonna  with  Saints. 
)  Virgin        adoring,       with 
J      Angels. 

Presentation  in  the  Temple. 

St.  Peter  of  Verona  and 
a  kneeling  Woman. 

St.  Ambrose,  with  other 
Saints. 

St.  Sirus,  with  other  Saints. 

St.  Augustine  (a  fragment 
on  panel). 

The  Four  Evangelists  (at- 
tached to  an  altar-piece 
by  Macriuo  d'Alba). 

St.  Peter  and  St.  Paul  (iu 
the  new  sacristy). 

Madonna,  with  SS.  Sebas- 
tian and  Roch. 

Virgin  adoring. 

Ecce  Homo. 

Virgin  giving  the  breast  to 
the  Child. 

119 


Eergamo. 

San  Spirito. 

»» 

it 

Berlin. 

Lochis-Carrara 
Gallery. 
3fuseum. 

»» 

it 

Lodi. 

Incoronata. 

Londou. 

Nat.  Gal. 

MiL.u. 

Casa  Barromeo. 

San  Satiro. 

San  Simpliciano. 

Santa  31  aria  della 

Passione. 

Sant'  Amlirogio. 

W 

1) 

Fsais. 

Sanf  Eustoryio. 
S.  Maria  Fresso 
San  Celso. 
Louvre. 

»j 

» 

Pavia. 

Certosa. 

A  BIOGRAPniCAL  DICTIONARY  OF 


Pavia.  C'ertosa.    The  Crucifixion.  (And  many 

more.) 
„  Aecademia.     Clirist  carrying  His  Cross, 

with   a  suite  of  Carthu- 
eiaus. 

STEFANO,  ToMMASO  di,  painter,  called  II  Giot- 
TINO,  from  his  imitation  of  the  manner  of  Giotto, 
is  said  to  have  been  the  son  and  pupil  of  Stefano, 
called  Fra  Fiorentino,  (see  Fiorentino,)  and  to 
have  been  born  at  Florence  about  1324,  where  ho 
died  in  1356.  A  'PietA'  in  the  church  of  San 
Eemigio  at  Florence  is  attributed  to  him,  and  cer- 
tain frescoes  at  Assisi.     See  also  Giottino. 

STEFANO  DA  FERRAKA.     See  Ferrara. 

STEFANO  DA  PONTE  VECCHIO.  See  Fioren- 
tino. 

STEFANO  DA  VERONA,  and  STEFANO  ba 
ZBVIO.  A  difference  of  opinion  exists  as  to 
whether  the  above  are  one  and  the  same,  or  an 
older  and  a  younger  painter.  The  existence  of 
Stefano  da  Zevio  (Zevio  is  near  Verona)  is  well 
authenticated.  He  was  a  contemporary  and  fol- 
lower, and  perhaps  a  scholar,  of  Vittore  Pisano, 
and  was  born  in  1393.  He  was  by  profession  a 
miniaturist,  and  was  the  grandfather  of  Girolamo 
dai  Libri.  A  distinctive  mark  of  his  pictures  is  the 
frequent  introduction  of  a  peacock.  To  him  Messrs. 
Crowe  and  Cavalcaselle  assign  all  the  paintings 
under  the  name  of  Stefano  in  Verona,  and  the  two 
panels  at  Rome  and  Milan,  given  in  the  list  below. 
Vasari,  however,  mentions  one  Stefano  da  Verona, 
a  pupil  of  Agnolo  Gaddi,  and  certain  Veronese 
critics  have  contended  that  under  this  master  the 
school  of  Verona  rose  to  a  fair  level  of  excellence 
as  early  as  the  14th  century.  They  divide  the 
frescoes  attributed  to  Stefano  into  two  classes, 
those  of  the  14th  and  those  of  the  15th  century, 
giving  the  former  to  the  master  whom  they  claim 
as  the  founder  of  their  school. 

WOBES : 

Illasi,  near  1   Pariah  Church.    Parts  of  a  fresco,    repre- 
Verona.    j  senting  the  Virgin  and 

Child  and  Saints.  (Thrs 
wall-painting  is  cited  by 
some  as  a  proof  of  the 
existence  of  the  elder 
Stefano.) 
Milan.  Brera.    Adoration    of   the    Kings 

(signed  Stefanus  pinxit, 
and  dated  1435,  ascribed 
in  the  catalogue  to  Ste- 
fano Fiorentino). 
Bome.  Palazzo  Colonna.    Virgin  and  Child  (ascribed 

to  Gentile  da  Fabriano). 
Verona.  Strada  di  Poiia  \  Fragments  of  a  Virgin  and 

Vescovo.       J      Child,  with    St.    Chris- 
topher and  Seraphs.  (On 
the  front  of  a  house.) 
«  Sanf  Eufemia.    A  Trinity,  and  Glory  of 

St.  Augustine. 
t)  „  St.   Nicholas  with  Saints, 

and  a  predella. 
»  Gallery.    Madonna. 

»  „  Madonna  with  St.  Cather- 

ine.    (Both  ascribed  to 
Piscinello.) 
And  other  frescoes  at  San  Zeno,  Sant'  Antonio,  and 
San  Niccol6  in  Verona.     See   '  History   of   Painting  in 
North  Italy,'  Crowe  and  Cavalcaselle. 

STEFANO  DA  ZEVIO.     See  preceding  article. 

STEFANO  DE'  FEDELI,  one  of  the  painters 
who  worked  in  the  Castello  of  Milan  in  the  reign 
of  Galeazzo  Maria  Sforza,  liis  frescoes  in  one  of  the 
chapels  there  being  valued  by  Vincenzo  Foppa 
and  other  painters.     In  1478  he  undertook  work 


for  Ambrogio  Grifo,  the  Court  Physician  and  Pro- 
thonotary  Apostolic,  and  his  name  appears  as  a 
member  of  the  Painters'  Guild  at  Milan  in  1481. 
Uis  brother  Matteo  was  also  a  painter,  but  no 
works  by  either  of  these  artists  are  known. 

STEFANO  DI  GIOVANNI,  called  Sassetta. 
It  was  in  the  year  1392  that  Stefano  di  Giovanni, 
called  Sassetta,  first  saw  the  light.  The  earliest 
notice  that  exists  bearing  upon  his  artistic  career 
is  of  the  year  1427.  In  that  year  the  operai 
of  the  Duomo  of  Siena  set  about  finishing  the  long- 
projected  font  of  San  Giovanni.  Jacopo  della 
Querela,  who  is  generally  credited  with  having 
been  the  author  of  the  original  design  of  the  font, 
was  away  at  Bologna,  where  he  had  been  for  more 
than  two  years.  The  old  design,  made  about  the 
year  1416,  must  have  been  incomplete,  or  have 
required  modification  in  some  way  ;  for  in  Jacopo's 
protracted  absence  the  authorities  commissioned 
Stefano  di  Giovanni  to  make  a  design  for  the 
completion  of  the  font.  There  was  nothing  strange 
or  unusual  in  the  course  that  they  took  in  apply- 
ing to  a  painter  for  such  a  drawing.  In  those 
days  Art  was  regarded  as  one,  and  an  artist 
expressed  himself  in  many  different  mediums. 
At  Siena  itself,  Lippo  Meinmi  had  supplied  the 
design  for  the  completion  of  the  Mangia  Tower, 
a  work  originally  planned  by  two  of  tlie  greatest 
architects  of  their  age.  It  is  impossible  to  say 
how  much  the  font  owes  to  Sassetta  ;  but  that 
some  details  of  it  are  of  his  invention  cannot  be 
doubted.  For,  after  this,  the  only  design  of  which 
any  record  exists,  had  been  furnished,  the  work 
upon  it  was  actively  recommenced.  Between  the 
years  1430  and  1432  Stefano  made  an  altar-piece  for 
the  chapel  of  S.  Bonifazio  in  the  Siena  Cathedral 
at  the  order  of  the  Lady  Ludovica,  wife  of  the  dis- 
tinguished knight  Turino  di  Matteo,  sometime 
operaio  of  the  Duomo.  After  he  had  executed 
this  commission,  Sassetta,  in  the  year  1433, 
painted  a  crucifix  for  the  church  of  S.  Martino, 
of  which  some  fragments  are  to  be  seen  in  the 
Saracini  Collection.  Three  years  later  he  finished 
one  of  his  most  exquisitely-wrought  works,  the 
'Madonna  and  Saints'  in  the  church  of  the  Osser- 
vanza,  near  Siena.  In  the  following  year,  in  1437, 
occurred  the  most  memorable  event  of  his  career. 
On  September  3  of  that  year  he  signed  an 
agreement  to  execute  an  altar-piece  for  the  church 
of  S.  Francesco  at  Borgo  San  Sepolcro.  The  artist 
engaged  to  execute  a  large  ancona,  painted  on  both 
sides  with  "  histories  "  and  figures.  It  was  to  be  the 
work  of  the  artist's  own  hand,  and  was  to  be  made 
as  beautiful  as  the  art  of  the  painter  could  make 
it.  The  altar-piece  was  to  be  completed  in  four 
years.  It  was  not,  however,  until  1444  that  the 
artist  received  the  final  payment  for  it.  The  exact 
form  of  the  ancona  cannot  at  present  be  determined. 
It  was  removed  from  its  place  above  the  high 
altar  of  S.  Francesco  in  the  year  1752,  but  until 
the  year  1810  it  remained  in  the  choir  of  the  Con- 
vent church.  It  was  then  sold  to  the  Cav.  Sergiu- 
liani  di  Arczzo.  In  the  year  1823  several  portions 
of  the  altar-piece,  including  a  large  panel  repre- 
senting '  St.  Francis  in  Glory,'  and  a  '  Madonna  and 
Child  with  Angels,'  were  in  the  possession  of  the 
Priore  Antonio  Angelucci  at  Montecontieri,  near 
Asciano.  The  '  Madonna  and  Child '  is  missing, 
but  eleven  fragments  of  the  ancona  have  been 
identified.  The  largest  panel,  the  '  St.  Francis 
in  Glory,'  is  in  the  possession  of  Mr.  Berenson. 
Six  smaller  panels,  representing  scenes  from  the 


AMBROGIO  STEFAXO  DA  I'OSSANO 


BORGOGNONE 


Ihinfstangl l^hoto\  [Xiilnvidl  Calkiy 

MAKRIAGE  OF  ST.   CATHERINE  OF  ALEXANDRIA 


PAINTERS  AND  ENGRAVERS. 


life  of  St.  Francis,  are  in  the  Chalandon  Collection. 
One  painting  of  the  same  series  is  in  the  Collec- 
tion of  the  Comte  de  Martel,  and  another,  the 
'  Mystical  Marriage  of  St.  Francis,'  the  most  beauti- 
ful of  all  the  remaining  portions  of  the  altar-piece, 
is  at  Cliantilly.  The  central  panel  formerly  bore 
the  inscription  :—CRISTOFORUS  FRANCISCI 
SR  FBI  E  ANDREAS  JOHANNIS  TANIS 
OPERARIUS   A   M.  CCCCXXXXIIII. 

In  the  years  that  intervened  between  the  sign- 
ing of  the  contract  for  this  ancona  and  its  comple- 
tion, Sassetta  probably  visited  Umbria,  and  painted 
the  '  Madonna  and  Saints '  in  the  Cathedral  at 
Cortona.  In  the  closing  decade  of  his  life  Stefano 
was  frequently  employed  upon  public  works  in 
his  native  city.  He  painted  some  banners  for  the 
Duomo.  He  also  designed  the  borders  of  some 
vestments  for  the  Cathedral  church,  a  task  for 
which  he  was  admirably  fitted,  as  his  iigure  of  St. 
Ambrose,  in  the  Osservanza  altar-piece,  proves. 
For  the  hospital  of  S.  Maria  della  Scala  he  painted 
a  portrait  of  one  of  the  greatest  of  Sieneso  Saints, 
S.  Bernardino,  whose  fiery  eloquence  he  had  doubt- 
less often  listened  to  in  the  Piazza  del  Campo ; 
and  for  the  Government  of  the  day  he  made  certain 
little  pictures,  of  a  similar  cliaracter,  perhaps,  to 
the  tavolette  of  the  Biccherna  still  preserved 
in  the  Archivio  at  Siena.  Finally,  on  May  3, 
1447,  he  was  commissioned  to  complete  the  de- 
coration, in  fresco,  of  the  great  Roman  Gate,  a 
work  which  Taddeo  di  Bartolo  had  begun  thirty 
years  before.  It  was  whilst  he  was  engaged  upon 
this  task  that  he  received  his  death-blow.  The 
work  was  well  advanced  towards  completion, 
when,  on  some  bleak  winter  day  in  1450,  the 
artist,  painting  on  his  high  platform,  was  "  stabbed 
through  and  through  by  the  sharp  sou'-wester," 
"percoeso  dal  vento  marino."  He  died  in  great 
poverty,  after  a  long  and  painful  illness,  at  the 
close  of  that  year. 

Sassetta  occupies  an  important  place  in  the 
history  of  Sienese  painting.  After  the  age  of  the 
great  masters,  the  age  of  Duccio,  of  Simone  Mar- 
tini and  the  Lorenzetti,  there  had  subvened,  owing 
to  social  and  economic  causes,  a  period  of  decad- 
ence. In  the  hands  of  artists  like  Bartolo  di 
Fredi  and  Paolo  di  Giovanni  Fei,  the  tradition 
gradually  degenerated,  until  in  Andrea  Vanni  it 
reached  its  nadir.  The  works  of  Taddeo  di  Bar- 
tolo reveal,  here  and  there,  evidences  of  new  life. 
But  the  most  influential  leader  of  the  revival  of 
Sienese  painting  in  the  first  half  of  the  Quattro- 
cento was  Sissetta.  This  artist  was  undoubtedly 
inflnenced  by  his  immediate  predecessors,  and 
especially  by  Bartolo  di  Fredi  and  Paolo  di  Gio- 
vanni Fei.  His  debt  to  Fei,  however,  has  been 
much  exaggerated.  Sassetta's  true  masters  were 
the  artists  of  the  golden  age  of  the  School  of  Siena. 
His  works  are  full  of  reminiscences  of  Duccio,  of 
Simone  Martini,  and  of  Ambrogio  Lorenzetti.  In 
his  Asciano  'Nativity'  he  adopts  a  design  of 
Pietro  Lorenzetti,  borrowing,  as  I  have  said  else- 
where, some  details  from  Bartolo  di  Fredi  (Siena 
Gallery,  No.  99).  In  his  'St.  Francis  receiving 
the  Stigmata,'  one  of  the  portions  of  the  Borgo 
San  Sepolcro  altar-piece,  he  closely  follows  Duc- 
oio's  representation  of  the  same  subject  in  the 
triptych  in  the  Royal  Collection.  In  his  '  St. 
Francis  before  Honorius  III.,'  in  the  Chalandon 
Collection,  he  appropriates  the  design  of  Ambrogio 
Lorenzetti's  '  St.  Louis  of  Toulouse  before  Pope 
Boniface,'    whilst  in  his    S.    Pietro  Ovile    'An- 


nunciation '  he  reveals  himself  as  a  close  imitator 
of  Simone  Martini.  In  other  works  of  his  too  he 
manifests  his  admiration  for  Simone.  Nor  did  he 
only  adopt  some  of  Simone's  designs  and  types  : 
he  strove  to  revive  Simone's  decorative  ideal.  In 
his  fineness  of  technique,  in  his  grace  of  line,  in 
the  cold,  virginal  beauty  of  his  female  types,  in 
the  transparency  of  his  flesh  tints,  in  his  love  of 
gorgeous  vestments  richly  bordered  and  heavy 
with  gold,  and  in  various  details  of  style,  such 
as  the  delicately-modelled  hands  he  paints,  with 
their  long,  graceful  fingers,  we  can  trace  the  in- 
fluence upon  him  of  the  greatest  of  Sienese 
masters.  The  ideal  of  the  Sienese  School,  the 
ideal  of  Simone,  which  had  become  debased  in 
the  dreary  period  of  art  that  followed  upon  the 
Black  Death  and  the  commercial  eclipse  of  Siena 
— that  ideal  the  present  writer  described  long 
ago — in  a  single  phrase — as  an  ideal  of  hieratic 
sumptuousness. 

It  is  only  within  the  last  two  or  three  j'ears  that 
connoisseurs  and  historians  of  art  have  begun  to  do 
justice  to  Sassetta  ;  and  even  now,  characteristic 
as  is  his  style,  he  is  but  imperfectly  understood, 
even  by  those  who  have  helped  to  make  him 
known.  Some  of  his  most  charming  works,  such 
as  his  '  Mystical  Marriage  of  St.  Francis,'  and  his 
'  Miracle  of  the  Sacrament,'  have  been  attributed, 
in  recently-published  works,  to  his  follower 
Sano.  His  '  Annunciation '  has  been  ascribed  by 
some  critics  to  Andrea  Vanni,  and  the  frag- 
ments of  the  crucifix  he  made  for  the  church  of 
S.  Martino  to  his  follower  Veochietta.  And  yet 
Sassetta's  peculiarities  are  not  difficult  to  define. 
In  his  pictures  we  find  a  wonderful  brilliancy  and 
purity  of  colour.  Especially  characteristic  is  his 
manner  of  painting  flesh  :  his  faces  and  hands 
are  most  delicately  modelled,  and  the  flesh  tints 
are  transparent  and  subtly  graduated.  His  heads 
are  broad  and  round.  The  women  that  he  paints 
have  tall,  lithe  forms,  with  high  waists,  small  but 
well-formed  breasts,  and  long,  straight  arms.  The 
eyebrow  is  much  arched  :  the  eyelids  are  heavy, 
the  iris  of  the  eye  is  well-defined,  and  even 
prominent.  The  mouth  is  small  and  full,  and 
there  is  a  pronounced  dimple  under  the  lower  lip. 
The  ear  is  ratlier  large  and  long,  and  is  placed  far 
back  ;  but  it  is  frequently  covered,  and  when  un- 
covered has  little  that  is  peculiar  or  characteristic. 
In  the  case  of  personages  represented  standing  the 
right  knee  is  often  flexed,  and  shows  itself  under- 
neath the  robe.  In  many  figures  three  broad, 
heavy  folds  hang  from  the  centre  of  the  waist  in 
front.  Above  all,  in  his  pictures  there  is  a  re- 
markable fineness  of  quality  such  as  cannot  be 
found  even  in  the  smaller  works  of  the  best  of  his 
Sienese  contemporaries,  Vecchietta  and  Giovanni 
di  Paolo.  Amongst  the  more  important  works  of 
Sassetta  are  the  following : 

Asciano.      Collegiatadi  |  Nativity. 

Barnard  Castle     Bowes  )  ^  ^jj^.^^^^  ^j  ^^^  Sacrament. 

Museum,  j 
Chantilly.  The  Mystical  Marriage  of  St. 

Francis. 
Chiusdino.  Madonna     and     Saints,    with 

Predella. 
Cortona.  Madonna  and  Saints. 

Cour-Chevemy.        CSd— , 

teaude  Beaumont  \^^^  Francis  and  the  Wolf   of 
^^TJ/j£\7l3i\     Gubbio. 


Comte  de  MarteVs  I 
Collection^ 


121 


A  BIOGRAPHICAL  DICTIONARY  OF 


Florence.      Mr.  Beren- )  St.  Francis  in  Glory,  and  two 

son's  Collection.  \      Saints. 
Paris.       M.  Chalandon's )  Six  Scenes  from  the  Life  of 

Collection,  j      St.  Francis. 
Pienza.  Museo,    Madonna  and  Child  and  Saints; 

a  Triptych. 
Siena.  Gallei-y.    No.  167  :  The  Last  Supper. 

„  „  No.    163:    The   Four    Patron 

Saints  of  Siena. 
„  „         No.     169:     St.    Jerome,    St. 

Gregory,  St.   Ambrose,  and 
St.  Augustine. 
„  „  No.  177:  Madonna  and  Child 

and  Saints  ;  a  Triptych. 
„  „         No.  325 :  Madonna  and  Child. 

„     Palazzo  Saracini.    No.    933 :    Adoration    of    the 

Magi. 
^  „  No.      1275 :     Madonna     and 

Saints ;  a  Triptych. 
„  „  Nos.l2:j6  and  1273:  Fragments 

of  a  Crucifix,  the  Virgin,  St. 
John  the  Evangelist,  and  St. 
Martin  and  the  Beggar. 
„        iS.  Pietro  Ovile.    Annimciation. 
„  Porta  Bomana.     Coronation  of  the  Virgin  {in 

part). 
„  (neai-).     Church  o/1M.idonna,   St.  Ambrose,    and 
tlu  Osservanza.  |      St.  Jerome.  K.  I,.  D. 

STEFANO  Dl  LAPO.     See  Lapo. 

STEFANO  FIORENTINO.     See  Fiobentino. 

STEFANO,  Fr.  di.    See  Francesco  di  Stefano. 

STEFANO  D'ANTONIO  DI  VANNI,  a  Floren- 
tine painter  of  the  15th  century.  None  of  his  works 
survive.  He  is  said  to  have  worked  in  conjunction 
with  Bicci  di  Lorenzo  on  pictures  for  San  Marco 
and  the  Caraaldolese  church.  In  1468  he  was  paint- 
ing in  the  hospital  of  San  Matteo,  and  in  1472  lie 
painted  the  marble  mausoleum  of  Temmo  Balduoci, 
its  founder,  of  which  Francesco  di  Simone  Ferrucci 
was  the  sculptor. 

STEFANO  SANT'  ANNA,  an  obscure  Sicilian 
painter,  of  the  early  16th  century.  In  the  church 
of  San  Dionisio  at  Messina  there  is  an  altar-piece  of 
the  patron  saint  enthroned,  inscribed:  Stephanus 
S"  Anna  1519. 

STEFANONE,  Maestro,  painter,  born  at  Naples 
about  the  year  1325,  was  a  pupil  of  Maestro  Simone, 
and  a  fellow- scholar  of  Gennaro  di  Cola.  In  con- 
junction with  the  latter,  he  painted  some  frescoes 
in  the  church  of  S.Giovanni  da  Carbonara,at  Naples. 
In  S.  Maria  della  PietJi  he  painted  a  Virgin  Mary 
and  the  Magdalene  weeping  over  the  dead  Christ, 
which  is  still  well  preserved.  A  curious '  Genealogy 
of  Christ'  over  the  entrance  to  the  chapel  of  San 
Lorenzo,  in  the  Diionio  at  Naples,  has  been  con- 
jecturally  ascribed  to  him,  also  a  Magdalene  and 
S.  Dominic,  in  San  Domenico  Maggiore.  He  died 
about  33yO. 

STEFANONI,  Giacomo  Antonio,  a  native  of 
Bologna,  who  flourished  about  the  year  1630.  He 
is  said  to  have  been  both  jiainter  and  engraver. 
We  have,  among  others,  the  following  etchings  by 
him : 

The  Virgin  with  the  infant  Christ,  St.  John,  and  two 

Angels  ;  after  Lod.  Carracci. 
The  Holy  Family,  with  St.  John;  after  An.  Carracci. 

1632. 
Another  Holy  Family,  with  St.  John  presenting  cherries ; 

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

Agostino  Catvacci. 
The  Murder  of  the  Innocents  ;  after  Suido  Beni. 
The  Martyrdom  of  St.  Ursula ;  after  L.  Pasinclli. 

STEFANONI,  Pietro,  an  Italian  engraver,  born 
at  Vicenza  about  1600,  who  has  left  a  set  of  forty 
etchings,  from  the  designs  of  the  Carracci,  intended 

122 


for  use  as  a  drawing-book.  He  marked  his  plates 
with  the  initials  P.  S.  F. 

STEFFECK,  Karl  Konstantin  Hiinrich,  Ger- 
man painter  ;  born  April  4, 1818,  at  Berlin  ;  a  pupil 
of  the  Berlin  Academy  and  also  of  Kruger  and 
Begas ;  he  also  studied  with  Delaroche  in  Paris, 
and  from  1840  to  1842  worked  in  Rome.  In  1859 
he  was  appointed  professor,  and  in  1880  became 
Director  of  the  Konigsberg  Academy.  He  painted 
historical  and  genre  subjects,  besides  animals  ;  his 
'  Spielende  Hunde'  is  in  the  Berlin  National 
Gallery,  and  his  lithographs  and  etchings  all  show 
his  skill  in  portraying  animal  life.  He  was  a 
member  of  the  Berlin  and  Vienna  Academies,  and 
obtained  a  Paris  tliird-class  medal  in  1855  as  well 
as  the  Legion  of  Honour.  He  died  at  Konigsberg, 
June  10,  1890. 

STEFFELAER,  Cornelis,  painter  and  engraver, 
was  born  at  Amsterdam  in  1797.  He  was  a  pupil 
of  Kobell,  and  painted  landscape.  He  died  at 
Haarlem  in  1861. 

STEIDL,  Martin  Melchior,  painter,  bom  at 
Innsbruck  in  the  17th  century,  studied  under  Job. 
Andr.  Wolf  in  Munich,  and  painted  pictures  in 
fresco  and  in  oil.  His  'Draught  of  Fishes'  is  in 
the  Dominican  church  at  Eichstadt.  He  died  in 
1720. 

STEIFENSAND,  Xaver,  engraver,  was  bom  at 
Caster,  near  Cologne,  in  1809,  and  received  his 
first  lessons  from  GOtzenberger  and  Cauer  at  Bonn. 
He  then  became  a  student  of  the  Dusseldorf 
Academy,  where  he  studied  till  183.3.  His  first 
plate  was  from  a  copy  of  Raphael's  St.  Catharine, 
by  Desnoyers,  after  which  he  went  to  Darmstadt, 
and  worked  under  Felsing.  In  1835  he  returned 
to  Diisseldorf,  engraved  '  Shepherd  and  Shep- 
herdess '  after  Bendemann,  and  several  plates  from 
drawings  by  Kaulbach,  Sohrodter,  and  Stilke  for 
editions  de  luxe  of  Schiller  and  Goethe.  He  was  a 
member  and  professor  of  the  Berlin  Academy.  He 
died  at  Diisseldorf  in  1876.  Among  his  other 
works  we  may  name  : 

A  Madonna ;  after  OverbecJ:. 
Frederick  11. ;  after  J.  F.  Schrader. 
Portrait  of  Lacordaire  ;  after  Chauvin. 
Portrait  of  Pins  IX. 
The  Child  Jesus  ;  after  E.  Deger. 

The  Nativity,  Visitation,  and  Ave  Maria ;  afterMintrop. 
'Eegina  Coeli ' ;  after  K.  Miller. 
The  Adoration  of  the  Slagi  ;  after  P.  Veronese. 
Plates    after  Kethel's  designs    for    Kotteck's    '  Welt- 
geschichte.' 

STEIN,  Theodor  Friedkich,  a  painter  of  the  18th 
century,  a  native  of  Hamburg,  who  painted  por- 
traits in  crayons.     He  died  at  Liibeck  in  1788. 

STEINBRUCK,  Edhard,  born  at  Magdeburg, 
May  3,  1802.  He  was  intended  for  commerce, 
and  in  1817  was  sent  to  Bremen  to  learn  business. 
There  he  remained  until  1822,  when,  being  called 
to  Berlin  for  his  term  of  military  service,  he  re- 
solved to  embrace  art  as  a  profession,  and  took 
the  opportunity  of  attending  Wach'e  newly-opened 
atelier.  In  1829  he  went  for  a  short  time  to  Diissel- 
dorf, and  later  to  Rome.  It  was  not  until  184G 
that  he  finally  settled  in  Berlin.  He  had  mean- 
time become  well  known  as  a  painter  with  much 
poetic  feeling,  and  in  1841  had  been  elected 
member  of  tlie  Berlin  Acadeni}-.  He  now  received 
many  commissions,  and  became  very  popular,  both 
in  his  native  country'  and  in  America.  He  became 
professor  at  the  Berlin  Academy  in  1854,  but  in 
1876  retired  to  Landeck  in  Silesia,  where  he  died 


PAINTERS  AND  ENGRAVERS. 


February  3,  1882.     The  following  are  among  his 
more  important  works  : 

Berlin.  Nat.  Gal.    The  Fairy  Voyage,  from 

Tieck's  '  MSrchen.' 
»  »  Children  Bathing. 

I.  N'eto  Musmm.     Medallions  for  the  Ceiling. 

„       Chapel  of  the  Schloss.     The  Resurrection,  &c. 
„  Catholic  Church  of }  kior3.t\on    of   the    Shep- 

St.  Hedwig.        J      herds. 
„      Chapel  of  the  Catholic  )  , , , 

Hospital.  j  Altar-piece. 

Magdeburg.        Church  of  St. )  , , . 

James.     |  Altar-piece. 

Sans  Souc!.      Friedenskirche.    Christ  on  Olivet. 
»  „  Madonna  and  Child. 

»  ,1  Genevieve. 

STEINER,  Eduard,  painter,  born  at  Winterthur 
in  1811,  studied  at  Munich  under  the  influence  of 
Cornelius,  but  made  his  reputation  as  a  portraitist, 
chiefly  in  pastel.  He  also  made  many  landscape 
drawings  in  pen-and-ink.     He  died  in  1860. 

STEINER,  Emanuel,  painter,  was  bom  at  Win- 
terthur in  1778.  He  painted  landscajjes  in  oil  and 
water-colour,  and  afterwards  flower  pictures  in 
water-colour.  He  etched  several  plates.  He  died 
in  1831. 

STEINER,  JoHANN  KoKRAD,  painter,  born  at 
Winterthur  in  1767,  studied  in  Geneva  and  Dresden. 
He  afterwards  went  to  Paris,  and  then  travelled  in 
Italy,  where  he  drew  much  after  Claude  Lorraine. 
On  his  return  home  he  devoted  himself  to  Swiss 
landscapes  in  oil  and  water-colour,  and  etched  a 
few  plates.  In  1796  he  paid  a  second  visit  to 
Italy.  He  died  in  1818.  His  wife  Anna  Barbara 
Steiner  was  also  a  painter. 

STEINER,  JoHANN  Nepomuk,  painter,  born  at 
Iglau  in  Moravia  in  1725,  after  gaining  a  reputa- 
tion as  a  portrait  painter,  went  to  Italy,  where 
he_  was  influenced  by  Mengs.  On  his  return  he 
painted  altar-pieces  in  Iglau  and  the  neighbour- 
hood. In  1755  he  became  court  painter  at  Vienna, 
and  painted  some  excellent  portraits,  among  them 
those  of  Maria  Theresa  and  Joseph  II.  He  died  in 
1792. 

STEINER,  Kaspar,  painter,  born  at  Winterthur 
m  1734,  was  first  manager  in  a  silk  warehouse  at 
Bergamo,  and  then  took  to  painting  portraits, 
which  are  warm  in  colour,  but  careless  in  execu- 
tion. He  afterwards  devoted  himself  to  landscapes, 
and  died  at  Bergamo  in  1812. 

STEINFELD,  Fbanz,  painter,  born  at  Vienna 
in  1787,  worked  first  as  a  sculptor  at  the  Vienna 
Academy,  and  then  took  to  landscape  painting,  in 
which,  though  self-tauglit,  he  displayed  such  talent 
that  he  was  appointed  painter  to  the  court.  In 
1846  he  became  proftssor  at  the  Academy  in 
Vienna,  and  led  his  pupils  to  study  nature  and 
Ruysdael.  In  the  Vienna  Gallery  he  has  a  'View 
of  Heligoland," The  Deserted  Mill,'  and  'Dawn.' 
He  also  executed  some  etchings  and  lithographs. 
He  died  at  Pisek,  in  Bohemia,  in  1868. 
^  STEINFELD,  Wilhelm,  son  and  pupil  of  Franz 
Steinfeld,  born  at  Vienna  in  1816,  was  also  a  painter 
of  landscapes.  There  is  a  mountain  scene  by  liim 
in  the  Gallery  at  Vienna.  He  died  at  Ischl  in 
1854. 

STEINFURTH,  Hermann,  who  was  born  at 
Hamburg  in  1824,  studied  first  with  E.  Sohn  in 
Diisseldorf,  and  then  in  the  Academy  of  that  city  ; 
and  subsequently  visited  Italy.  He  afterwards 
resided  for  some  time  in  Diisseldorf,  and  won  him- 
self a  name  as  an  historic  painter.  He  also  made 
a  series  of  pencil  drawings  in  illustration  of  the 


Prometheus  of  .SIscbylus,  and  painted  portraits. 
He  died  in  his  native  city  in  1880.     Pictures : 

The  Entombment.    1844. 

The  Education  of  Jupiter.     1S46.     (Cologne  JIuseum.) 
Hylas  carried  away  by  the  Nymphs.     1847. 
The  Resurrection.     (In  St.  Nicholas,  Hamburg.) 
„  „  (In  St.  Peter's,  Hamburg.) 

STEINHAUSER,  Pauline,  nee  Frank,  was  the 
wife  of  the  architect  Karl  Steinhauser,  and  a  painter 
of  historical  pictures.  Her  'Esther  before  Aha- 
suerus'  is  in  the  Schloss  Bellevue,  at  Berlin.  She 
died  in  1866. 

STEINHEIL,  Louis  Charles  Auguste,  painter, 
was  born  at  Strasburg,  June  26,  1814.  He  studied 
under  Ducaisne  and  David  d' Angers,  and  first 
became  known  as  a  painter  of  portraits  and  flower- 
pieces.  Later  he  produced  a  number  of  romantic 
subjects,  treated  in  imitation  of  the  early  German 
masters.  Upon  his  mural  and  glass  paintings, 
however,  his  reputation  chiefly  rests.  He  ex- 
hibited frequently  at  the  Salon  from  1836  onwards, 
and  was  several  times  premiated.  He  was  the 
brother-in-law  of  Meissonier,  and  his  son  and 
pupil,  Adolphe  Charles,  is  a  young  painter  of 
repute  in  Paris.  Steinheil  died  in  1885.  The 
following  are  good  examples  of  his  works : 

Amiens.  Cathedral.    Several  figures  of  Saints. 

Dijon.  Museum,     Cartoons  for  the  '  Marriage 

of  the  Virgin.* 
Dunkirk.     Church  of  S.  Eloi.    A  window    painted    with 
the    '  Marriage    of    the 
Virgin.* 
Limoges.  Cathedral.     Various  pictures. 

Nantes.  Museum.     The  Mother. 

Several  wall-paintings  and  windows  in  the  Saints 
Chapelle  in  Paris,  aud  a  *  St.  George  and  the  Dragon  * 
in  the  Chapel  of  St.  George,  Notre  Dame. 

STEINKOPF,  GOTTLOB  Friedrioh  von,  painter, 
born  at  Stiitfgart  in  1779,  was  the  son  and  pupil  of 
Johann  Friedrioh  Steinkopf  He  went  to  Vienna  in 
1799,  where  he  transferred  his  attention  from  en- 
graving to  painting.  From  1807-14  he  was  in  Rome, 
and,  under  the  influence  of  Koch,  Schick,  and 
Overbeck,  painted  ideal  historical  pictures.  From 
1814-21  he  was  in  Vienna,  and  went  thence  to 
Stiittgart.  In  1829  he  was  teacher  at  the  Stiittgart 
Art  School,  in  1833  professor,  and  in  1845  head  of 
the  school.  His  '  Cleobis  and  Biton '  is  in  the 
King  of  Wiirtemberg's  collection,  his  '  Elysian 
Fields '  in  the  Stiittgart  Gallery.  He  died  at 
Stiittgart  in  1861. 

STEINKOPF,  Johann  Friedrioh,  painter,  wag 
born  at  Oppenheim  in  1737,  and  went  in  1755  as 
painter  to  the  porcelain  works  at  Ludwigsburg,  in 
Wiirtemberg.  He  afterwards  painted  animal  pic- 
tures in  the  style  of  Roos  and  Wouwerman,  became 
in  1786  teacher  of  drawing  at  the  Gymnasium  at 
Stiittgart,  and  in  1801  court  painter.  He  died  at 
Stuttgart  in  1825. 

STEINLA,  Moritz,  engraver,  whose  real  name 
was  MuLLEB,  which  he  changed  for  that  of  Steinla 
as  more  distinctive,  was  born  at  Steinla  near  Hilde- 
sheim  in  1791.  He  received  his  first  training  at 
tlie  Dresden  Academy,  and  showing  remarkable 
promise,  was  sent  by  the  King  of  Saxony  to 
Florence  and  to  Milan,  where  he  studied  succes- 
sively under  Morghen  and  Longlii.  His  first  im- 
portant plate  was  after  Titian's  'Tribute  Money,' 
and  was  published  in  1829.  It  was  followed  by  a 
'  Pieti'  after  Fra  Bartolonimeo  (1830),  'The  Mur- 
der of  the  Innocents'  after  Raphael  (1836),  the 
'Madonna  della   Misericordia '   after   Fra   Barto- 

123 


A   BIOGRAPHICAL  DICTIONARY  OF 


lommeo  (1838),  and  in  1841  and  1848  respectively 
by  plates  from  the  two  gems  of  the  Dresden 
Gallery,  Holbein's  '  Madonna '  and  Raphael's  '  Ma- 
donna di  San  Sisto.'  For  the  former  he  was 
awarded  a  gold  medal  in  Paris.  His  last  important 
work  was  a  plate  after  Raphael's  'Madonna  del 
Pesce,'  which  he  executed  at  Madrid  in  1851.  On 
his  returning  to  settle  in  Dresden  he  was  appointed 
Professor  of  Engraving  at  the  Academy,  ile  died 
at  Dresden,  September  21 ,  1858. 

STEINLE,  JoHANN  Eduard,  painter,  bom  at 
Vienna,  July  2,  1810,  was  the  son  of  an  engraver. 
He  was  at  first  placed  with  an  engraver  named 
Kininger  in  Vienna,  studying  in  tlie  Academy  at 
the  same  time.  Finding  that  his  real  inclinations 
lay  towards  oil  painting,  he  entered  tlie  atelier  of 
Leopold  Kupelwieser,  who  h.id  lately  returned  from 
Rome,  and  under  him  became  an  ardent  supporter 
of  the  lately-founded  neo-Gerraan  school  of  re- 
ligious art.  In  1828  he  set  out  for  Rome  with 
introductions  to  tlie  chiefs  of  the  movement,  Over- 
beck  and  Ph.  Veit,  by  whom  he  was  warmly  re- 
ceived, and  under  their  influence  his  art  training 
was  completed.  lie  remained  at  Rome  till  1834, 
■when  he  returned  to  Vienna,  and  made  a  short 
stay  in  Frankfort.  He  was  soon  occupied  with 
important  works,  one  of  the  first  being  a  com- 
mission from  Herr  von  Bethmann-Hollweg  to 
decorate  the  Castle  chapel  at  Rheineck  with  frescoes 
illustrating  the  Beatitudes.  In  1838  he  spent 
some  months  in  Munich,  studying  the  technique 
of  fresco  painting  under  Cornelius,  and  shortly 
afterwards  settled  at  Frankfort,  where  in  1850  he 
accepted  a  professorship  at  the  Stadel  Institute. 
Steinle  was  a  member  of  the  Academies  of  Berlin, 
Munich,  Hanau,  and  Vienna,  and  received  a  gold 
medal  at  the  Paris  Exhibition  of  1854.  In  1875 
Le  undertook  a  series  of  decorative  paintings  for 
Strasburg  Cathedral,  and  one  of  his  latest  com- 
missions was  a  '  cycle '  of  religious  and  historic 
subjects  for  the  cathedral  at  Mayence.  In  the 
Berlin  National  Gallery  are  the  cartoons  for  his 
'  Last  Judgment,'  and  a  scene  from  '  As  You  Like 
It,'  In  the  Leipsic  Museum  are  the  Cartoons  for 
the  Church  of  St.  iEgidius  at  Munster,  and  be- 
longing to  Princess  Marie  Lichtenstein  those  for 
the  chapel  at  Heubach-sur-Mein. 
Virgin  and  Child.  {Bridgewater  Gallery^ 
Groups  of  Angels.  {Cologne  Cathedral.) 
The  Judgment  of  Solomon.  1848.  {Kaisersaal,  Frank- 
fort.) 
St.  Peter's  Sermon.     {Riga.) 

Paintings  in  the  '  J?gidienkirch6     at  Munster.     1857. 
Frescoes  in  the  'Wallraf  Museum  at  Cologne,  and  in  the 

'  Marieukirche  '  at  Aix-la-Chapelle.     1860—1866. 
Decoration  of  the  Lowenstein  Chapel  at  Heubacb.  1867. 

STEINMULLER,  Joseph,  born  at  Vienna  in 
1795,  received  his  first  instruction  at  the  Academy 
of  that  city  under  Maurer,  and  began  in  1818  as  an 
engraver  of  portraits.  His  principal  plates  are  the 
three  which  follow ;  they  were  engraved  for  the 
Austrian  Art  Union : 

The  Madonna  in  the  Meadow ;  after  Raphael. 

The  Virgin  and  Child  ;  after  Leonardo  da  Vinci. 

A  Madonna  and  Child,  and  two  Saints ;  after  Perugino. 

Steinmiiller  also  engraved  several  plates  for  the 
•  Vienna  Gallery.'     He  died  in  1841. 

STELLA.     See  Stern,  Ignaz. 

STELLA.  A  family  of  French  painters  and 
engravers,  of  Flemish  origin.  Tlie  following  table 
shows  their  genealogy,  and  relation  with  the  Bou- 
zonnets,  who  also  called  themselves  Stella : 

124 


Jean  Stella 
1626-pl601. 

Francois  Stella 
1565-J-1605. 


'    Jacques         Francois 

1696—1667.         1603- 1647. 


Madeleine  Stella 
Married  to  Etienne  IJoujonnet. 


Antoine 
1637—1082. 


Antoinette 
1641-1076. 


Claudine 
1637—1697. 


Fran(;ol8o 
1638—1091. 


STELLA,  Antoine.    See  Bouzonnet. 

STELLA,  Antoinette.     See  Bouzonnet. 

STELLA,  Claudine.    See  BouzoNETr. 

STELLA,  FRANgois,  the  elder,  painter,  son  of 
Jean  Stella,  was  born  at  Mechlin  in  15G5.  In  1578 
he  accompanied  a  Jesuit  friend  to  Rome,  and  there 
studied  painting.  On  his  return  northwards  he 
stopped  at  Lyons,  and  there  married  the  daughter 
of  a  notary.  He  painted  a  large  number  of  religious 
pictures  in  that  city,  among  others  a  '  Descent  from 
the  Cross'  for  the  C^lestins,  and  an  '  Entombment' 
for  the  church  of  St.  Jean.  He  died  at  Lyons  in 
1605. 

STELLA,  Francois,  younger  brother  of  Jacques 
Stella,  born  at  Lyons  in  1601,  was  instructed  by 
his  brother,  whom  he  accompanied  to  Italy.  He 
painted  history,  but  never  arrived  at  much  emi- 
nence, and  was  very  inferior  to  Jacques.  There 
are  some  pictures  by  him  in  Paris  churches,  among 
them  an  altar-piece,  representing  the  dead  Christ 
with  the  Virgin  Mary  and  St.  John,  at  Les  Augustins. 
He  died  in  Paris  in  1661. 

STELLA,  Fbanqoise.    See  Bouzonnet. 

STELLA,  Jacques,  an  eminent  French  painter, 
born  at  L3'ons  in  1596,  was  the  son  of  Frangois 
Stella.  His  father  taught  him  the  rudiments  of 
design,  but  he  was  left  an  orphan  when  only  nine 
years  old.  He  had,  however,  at  that  early  age, 
made  such  progress,  that  he  continued  his  studies 
without  another  master.  When  he  had  reached 
his  twentieth  year  he  travelled  in  Italy,  and  passing 
through  Florence,  on  his  way  to  Rome,  was  em- 
ployed by  Cosmo  do'  Medici  to  assist  in  the  pre- 
parations for  the  marriage  of  his  son  Ferdinand. 
He  painted  several  pictures  for  the  Grand  Duke, 
who  assigned  him  apartments  in  his  palace,  with 
a  pension  equal  to  that  of  Callot,  who  was  at  that 
time  in  the  same  service.  After  a  residence  of  seven 
years  at  Florence,  be  proceeded  to  Rome  in  1623. 
There  he  studied  in  the  society  of  Nicholas  Poussin, 
with  whom  he  contracted  an  intimate  acquaintance. 
Stella  resided  eleven  years  at  Rome.  In  1634 
he  returned  to  France,  where  his  talents  recom- 
mended him  to  Richelieu,  by  whose  favour  he  was 
appointed  painter  to  the  king,  with  a  pension,  and 
was  presented  with  the  order  of  St.  Michael.  His 
principal  works  in  Paris  are  a  '  Baptism  of  Christ,' 
in  the  church  of  St.  Germain-le-Vieux  ;  an  'Annun- 
ciation,' in  the  chapel  of  the  Nuns  of  the  Assump- 
tion ;  and  a  '  Christ  with  the  Woman  of  Samaria,' 
at  the  Carmelites.  Stella  was  more  successful  in 
easel  pictures  than  in  large  works.  His  composi- 
tion is  graceful,  and  his  design  correct;  but  his 
works  as  a  whole  are  cold  and  lifeless.  He  died  in 
Paris  in  1657.  The  Louvre  possesses  two  of  his 
pictures,  an  '  Assumption  of  the  Virgin,'  on  ala- 
baster, and  a  '  Minerva  and  the  Muses.'  Stella  left 
some  etchings,  among  them  the  following: 

The  Descent  from  the  Cross. 

The   Ceremony    of   Homage   to   the   Grand    Duke    of 

'J'uscauy  on  St.  John's  Day.    1621. 
A  Madonna. 
St.  George. 
Children  dancing. 

A  great  number   of  his   decorative  designs  have 


PAINTERS  AND  ENGRAVERS. 


been  engraved  by  Edelinck,  Claudine  Bouzonnet 
(called  Stella),  the  Poillys,  Mellan,  Paul  Bosse,  and 
others. 

■STELLA,  Jean,  painter,  the  firat  of  the  family, 
was  born  at  Antwerp  in  1525.  Nothing  ia  known 
of  his  works.     He  died  in  1601. 

STELZER,  JoHANN  Jakob,  a  German  engraver, 
who  flourished  about  the  year  1720.  He  engraved 
some  plates  for  the  collection  of  prints  from  the 
antique  marbles  in  the  Dresden  gallery,  which  was 
published  in  1733. 

STEMFSIUS.     See  Sempelius. 

STENBOCK,  Magnus  Graf  von,  a  Swedish  field- 
marshal,  born  at  Stockholm  in  1764.  He  painted 
some  good  portraits,  and  executed  mechanical  art 
work.     He  died  at  Copenhagen  in  1717. 

STENDARDO.    See  Blobmen,  Pieter  van. 

STENGLIN,  JoHANN,  engraver,  born  at  Augs- 
burg in  1715,  studied  under  Bodenehr,  and  en- 
graved after  Dinglinger,  Grooth,  Haid,  Klein,  and 
De  Meytens.  In  1743  he  received  a  summons  to  St. 
Petersburg,  and  engraved  portraits  of  Russian 
Czars  and  members  of  the  Royal  Family.  He  died 
at  St.  Petersburg  in  1770. 

STENNETT,  William,  amateur,  was  a  merchant 
at  Boston,  in  Lincolnshire,  who  practised,  under 
the  pseudonym  of  '  Delineator,'  as  an  antiquarian 
draughtsman  in  the  first  part  of  the  18th  century. 
His  chief  productions  were  drawings  of  Lincoln- 
shire churches,  some  of  which  were  engraved,  the 
best  known  being  those  of  Boston  and  Walpole 
churches.     He  died  poor  at  Boston  about  1762. 

STENREE,  (or  Steenree,)  by  some  called 
WiLLEM,  by  others  Georo,  was  a  nephew  of  Cor- 
nells Poelemburg,  by  whom  he  was  instructed,  and 
whose  manner  he  followed.  His  birth  is  placed  at 
Utrecht  in  1600,  and  his  death  in  1648,  but  on 
uncertain  authority. 

STENT,  Peter,  resided  in  London,  and  carried 
on  a  considerable  business  as  a  printseller  from 
1640  to  1662.  It  is  believed  that  he  occasionally 
engraved.  A  portrait  of  Andrew  Willet,  with  six 
Latin  verses,  and  marked  with  the  initials  P.  S., 
is  generally  attributed  to  him. 

STEPHAN,  (Stephanus,  or  Stevens,)  Jo- 
hannes, called  Calcar,  from  his  birth-place  in  the 
Duchy  of  Cleves,  was  born  in  1449.  He  worked 
for  a  time  at  Dordrecht,  and  in  1636  went  to  Venice, 
and  became  a  pupil  of  Titian.  He  imitated  his 
master  with  much  success,  and  painted  portraits 
that  have  been  mistaken  for  works  of  Vecelli. 
Later  he  also  imitated  Raphael.  He  spent  the 
greater  part  of  his  life  in  Italy,  and  at  Naples 
became  acquainted  with  Vasari,  who  speaks  of  him 
in  terms  of  high  praise,  and  states  that  he  made 
the  designs  for  the  '  De  humani  corporis  fabrioa  '  of 
Vesalius.  It  is  said  that  he  also  drew  the  por- 
traits in  the  early  editions  of  Vasari.  He  died  at 
Naples  about  1546.  The  following  portraits  are 
ascribed  to  him : 

Berlin.  3Iuseum.    Portrait  of  a  Young  Man. 

Paris.  Louvre.    Ditto. 

Vienna.  Gallery.    Portrait  of  a  Man. 

STEPHAN,  Meister.    See  Loohner. 
■    STEPHANI.    See  Stevens,  Pieter. 

STEPHANOFF,  Francis  Philip,  was  born  in 
London  in  1788.  He  was  the  son  of  Fileter  Ste- 
phanofi,  and  painted  popular  pictures  in  oils  and 
water-colours,  such  as  'The  Poor  Relation,'  'Re- 
conciliation,' '  The  Trial  of  Algernon  Sidney.'  He 
also  made  the  drawings  for  Pyne's  '  Royal  Resid- 


ences,' and  a  fine  series  of  costume  portraits  for 
'  Garter's '  work  on  the  coronation  of  George  IV. 
This  series  is  now  in  the  South  Kensington  Museum. 
Another  excellent  series  was  devoted  to  the  'Field 
of  the  Cloth  of  Gold.'  His  illustrations  are  to  be 
found  in  a  great  many  other  books  published  in 
the  first  half  of  the  last  century.  He  died  at 
West  Hannam,  in  Gloucestershire,  in  1860. 

STEPHANOFF,  James.  This  man,  who  was 
the  brother  of  Francis  Stephanoff,  was  born  in 
London  about  1788.  He  was  trained  at  the  Royal 
Academy  Schools,  but  did  not  get  on  well  there, 
and  soon  left.  He  was  one  of  the  founders  of 
the  Sketching  Society,  and  a  member  of  the  Old 
Water-Colour  Society.  His  best  work  represented 
ceremonial  scenes,  such  as  the  interior  of  the  House 
of  Commons,  the  reception  of  the  Queen  in  London, 
or  the  Coronation.  He  was  employed  by  the 
Society  of  Antiquaries  to  make  water-colour  draw- 
ings of  church  embroidery,  and  he  illustrated  three 
or  four  books  on  ceremonies.  He  died  at  Bristol 
in  1874. 

STEPHANOFF,    N Fileter,    a    Russian 

painter,  who  settled  in  London  in  the  second  half 
of  the  18th  century.  He  exhibited  at  the  Royal  Aca- 
demy in  1778-81.  He  was  by  profession  a  portrait 
painter,  but  in  this  country  was  chiefly  employed  on 
decorations  for  ceilings,  and  scenery  for  a  circus 
in  St.  George's  Fields.  He  committed  suicide 
some  time  before  1790.  His  wife,  Gertrude  Ste- 
PHANOFF,  was  a  flower-painter  and  teacher  of 
drawing.  She  exhibited  at  the  Academy  in  1783 
and  1805,  and  died  at  Brompton  in  1806.  Her 
daughter,  M.  G.  Stephanoff,  followed  the  same 
professions. 

STEPHENSON,  James,  engraver  in  line  and 
mezzotint,  was  born  on  Nov.  26,  1828,  at  Man- 
chester. He  was  a  pupil  of  Finden,  and  after 
living  at  Manchester,  came  to  London  in  1847.  In 
1856  and  1858  he  exhibited  at  the  Royal  Academy 
engravings  after  drawings  by  J.  Faed,  and  con- 
tinued to  exhibit  there  many  of  his  best  works, 
among  them  being:  'My  ain  Fireside,'  after  T.  Faed 
(1861);  'Tennyson,'  after  G.  F.  Watts  (1862); 
the  '  Prince  of  Wales,'  after  Sir  J.  W.  Gordon 
(1864)  ;  '  Ophelia,'  after  Sir  J.  E.  Millais  (1866)  ; 
'Osborne,'  after  Sir  E.  Landseer  (1872);  'The 
Great  Day  of  His  Wrath,'  'The  Last  Judgment,' 
and  'The  Plains  of  Heaven,'  all  after  J.  Martin 
(1873).  In  1870  he  exhibited  a  crayon  drawing, 
'  A  Midnight  Study,'  and  in  1884  an  original  etch- 
ing, '  The  Challenge.'  Among  his  other  well- 
known  works  are  'The  Highland  Whisky-Still' 
and  the  'Taming  of  the  Shrew,'  after  Landseer. 
Stephenson  was  a  skilful  and  delicate  engraver, 
and  excelled  not  only  in  hislarger  works,  but  in  his 
small  engravings  for '  Jennings'  Landscape  Annual,' 
and  similar  publications,  with  illustrations  after 
Stothard,  Turner,  Collins,  D.  Roberts,  and  others. 
He  died  on  May  30,   1886.  jr.  H.- 

STERN,  Ignaz,  (called  Stella,)  painter,  was 
bom  at  Ingolstadt,  Bavaria,  about  the  year  1698. 
He  went  early  in  his  life  to  Bologna,  where  he 
entered  the  school  of  Carlo  Cignaui.  He  painted 
for  churches  in  Lombardy,  and  resided  several 
years  at  Rome,  where  he  was  much  employed 
both  for  public  buildings  and  private  collections. 
In  the  Basihca  of  St.  John  Lateran,  there  is  an 
'Assumption'  by  him;  he  also  painted  some 
frescoes  in  the  sacristy  of  S.  Paolino.  He  also 
painted  concerts,  conversations,  and  bambocciate. 
He  died  at  Rome  in  1746. 

125 


A  BIOGRAPHICAL  DICTIONARY  OF 


STETTLER,  Wilhelm,  was  a  native  of  Beme, 
and  a  scholar  of  Konrad  Meyer  at  Zurich  and  of 
Joseph  Werner  at  Paris.  He  accompanied  the 
archffiologist  Charles  Patin  in  his  travels  through 
Holland  and  Italy,  and  designed  most  of  the  plates 
in  his  publications  on  medals  and  antiquities. 
Stettler  died  in  1708. 

STEUBEN,  Karl,  painter,  was  born  at  Bauer- 
bach,  near  Baden,  in  1788.  His  father  was  an 
officer  in  the  Russian  army,  and  he  received  his 
first  education  at  the  Academy  of  St.  Petersburg, 
and  then  went  to  Paris,  where  he  studied  under 
Gerard,  Robert  Lefevre,  and  Prud'hon.  In  1812  he 
exhibited  for  the  first  time.  He  soon  made  his 
mark,  and  was  employed  by  the  French  Government 
and  decorated  with  the  cross  of  the  Legion  of 
Honour.  Late  in  life  he  visited  Russia,  and  painted 
seven  scenes  from  the  life  of  Christ  for  St.  Isaac's 
cathedral.     He  died  in  Paris  in  1856.     Works  : 


Amiens.             Ifuseum. 

Peter  the  Great  in  a  storm  on 

Lake  Ladoga.     1S12. 

Compiegue.          Palace. 

Mercury  and  Argus.     1832. 

Lille.                  3Iuseuin. 

Jeanne  La  Folle. 

Kantes.                    „ 

Esmeralda. 

Paris.     St.  Germain  des 

)  St.      Germain      giving     alms, 
i      1817. 

Pr'cs. 

Strasburg.        Cathedral. 

The  Assumption. 

Valenciennes.    3Iuseum. 

Peter  the  Great  saved  by  his 

mother    from    the     Strelitz. 

1827. 

Versailles.           Gallery. 

Battle  of  Ivry. 

»                        >* 

Battle  of  Poitiers. 

i>                        »» 

Many  portraits. 

Steuben's  wife,  El^onore,  practised  portrait  paint- 
ing in  Paris. 

STEUDTNER,  Mark  Christoph,  born  at  Augs- 
burg in  1698,  engraved  the  '  Loves  of  the  Gods,' 
and  many  other  subjects  on  copper  and  wood,  and 
in  mezzotint.  He  was  also  much  emploj'ed  on 
designs  for  goldsmitlis,  in  conjunction  with  his 
brother  Esajas.     He  died  in  1736. 

STEVAERTS,  (Staevaerts,  Stevers,  Stevens,) 
Anthonie  Palamedesz,  painter,  was  the  son  of 
Palamedes  Stevaerts,  a  gem-engraver  of  Delft,  and 
was  born  in  that  city  in  1600.  He  painted  por- 
traits and  conversations,  and  was  particularly 
Buccessful  in  the  rendering  of  groups  of  small 
figures  in  interiors,  at  meals  or  musical  entertain- 
ments. He  frequently  painted  figures  in  tlie  archi- 
tectural pieces  of  his  friend  Dirk  van  Deelen.  He 
was  admitted  into  the  Guild  of  S.  Luke  in  1621 
and  later  filled  the  important  office  of  Dean.  He 
died  in  1673.     Works  by  him : 

Berhn.  Gallery.    Portrait  of  a  Young  Girl. 

1.  „          A  Party  at  Table  in  a  Parli 

n  1,          Portrait  of  a  Boy. 

Brussels.  Gallery.    Portrait  of  a  Man. 

"  „         The  Musical  Party. 

Copenhagen.  Gallery.    Soldiers  Playing    Cards    in    a 

Guard-Room. 

Frankfort.  ^fj^^    |  A  Merry  Party. 

Hague.  Museum.     Portrait  of  an  Officer. 

Petersburg.     Hermitaye.    An  Interior,  ladies  and  gentle- 

men  singing. 
Vienna.         Liechenstein  \  Guard-Eoom  Interior,  two  pic- 
Gallery.     /     tures. 
The  Concert.    (Belonijimj  (1885)  to  the  Dowager  Madame 
de  Jonye,  at  the  Haijue.) 

STEVAERTS,  (Staevaerts,  Stevers,  Stevens,) 
Palamedes  Palamedesz,  painter,  was  the  brother 
of  Anthonie  Palamedesz.  It  is  said  that  his  father, 
having  been  summoned  to  the  court  of  James  I.  of 
England,  remained  for  some  time  in  London,  and 

126 


that  during  this  sojourn  Palamedes  was  born,  in 
1607.  On  the  return  of  the  family  to  Delft  he 
worked  for  a  time  in  his  brother  Anthonie's  studio, 
and  also  studied  the  works  of  Esaias  van  der  Velde, 
devoting  himself  finally  almost  exclusively  to  the 
representation  of  battles,  skirmishes,  and  hand-to- 
hand  encounters  in  the  manner  which  Esaias  had 
brought  into  fashion.  These  he  treated  with  extra- 
ordinary animation.  He  became  a  member  of  the 
Guild  of  S.  Luke  in  1627.  He  was  deformed,  and 
his  early  death  in  1638,  at  the  age  of  thirty, 
accounts  for  the  rarity  of  his  works. 

Berlin.  Gallery.    A  Skirmish  between  Swedes 

and  Imperialists. 
Dresden.  Gallery.     Cavalry  Combat. 

,,  „  A  Cavalier  with  a  Staff. 

Munich.  Finakothek.    Cavalry  attacking  Musketeers 

and  Pikemen. 
„  „  A  Cavalry  Fight. 

Vienna.  Gallery.     A  Cavalry  Charge. 

„      Liechtenstein  Gal.    A  Skirmish  of  Cavalry. 

STEVENS,  Alfred  (1817  or  1818—1875), 
sculptor,  metal  designer,  and  painter,  born  at 
Blandford,  Dorset,  was  the  son  of  a  painter  and 
house-decorator.  Entering  his  father's  business,  he 
early  gave  evidence  of  artistic  originality.  He 
received  no  academic  training,  but  was  fortunate 
when  sixteen  years  of  age  in  attracting  the  notice 
of  the  Hon.  and  Rev.  Samuel  Best,  who  advanced 
him  £60  for  a  visit  to  Italy.  Here  he  remained 
for  nine  years  (1833 — 1842),  first  copying  Aretino 
Spinello's  frescoes  of  the  Life  of  the  Virgin  at 
Florence,  those  of  Giotto  and  Andrea  del  Sarto  at 
Naples,  and  making  sketches  at  Pompeii.  In  1835 
he  journeyed  to  Rome,  paj'ing  his  way  by  the  use  of 
his  pencil  and  brush.  1839  found  him  at  Venice, 
where  he  made  admirable  copies  of  Titian,  which 
have  not  infrequently  been  mistaken  for  originals. 
In  1841-2  he  was  back  at  Rome,  where  for  a  short 
time  he  did  journej'man's  work  for  Thorwaldsen, 
devoting  his  spare  time  to  a  fruitful  and  enthusi- 
astic study  of  Michelangelo.  All  these  years  he 
had  been  deliberately  aiming  at  the  development 
of  his  powers  along  the  lines  of  the  Italian  Renais- 
sance, practising  eclecticism  in  its  highest  sense, 
and  religiously  setting  himself  to  discover  the 
proper  inter-relationship  between  the  plastic  and 
graphic  arts.  He  was  determined,  if  possible,  that 
his  work  should  be  the  highest  expression  of  the 
Latin  tradition.  To  this  end  he  repudiated  all 
temptation  to  specialize,  allowing  his  sympathies, 
as  Sir  W.  Armstrong  has  put  it,  "  to  expand  over 
all  forms  of  art."  By  this  rigid  self-control  he 
achieved  the  harmony  and  rhythm  which  came 
to  be  the  dominant  notes  of  his  work.  Doubtless 
this  militated  against  his  immediate  popularity, 
but  it  has  given  him  a  reputation  among  artists 
which  will  last  so  long  as  his  masterpieces  hold 
together.  To  arrive  at  Stevens's  almost  unique 
quality  his  work  must  be  regarded  in  the  mass. 
In  detail  he  was  as  good  as  maj'  be,  but  it 
is  in  coherence  that  his  true  greatness  lies. 
Stevens  founded  no  school.  Rather  was  be  the 
belated  and  perfect  blossom  of  an  almost  dead 
tree.  To  use  another  of  Sir  W.  Armstrong's 
expressive  phrases,  by  the  time  he  was  back  in 
England  "  he  had  made  the  {esthetic  language  of 
the  Renaissance  his  mother  tongue."  Landing  in 
1842,  he  was  so  absolutely  penniless  that  it  was 
only  with  borrowed  money  that  he  could  return  to 
Blandford,  where  he  spent  the  next  two  years. 
In  1845  he  obtained  a  professorship  at  the  School 


PAINTERS  A2JD   ENGRAVERS. 


of  Design,  Somerset  House,  a  post  which  he  held 
until  1847,  designing  amongst  other  things — such 
was  his  unprejudiced  sympatliy  with  all  forms  of 
applied  art — a  railway  carriage  for  the  King  of 
Denmark.  In  1849  he  made  designs,  unfortun- 
ately never  carried  out,  for  doors  to  the  building 
in  Jermyn  Street,  which  then  housed  the  Museum 
of  Economic  Geology  and  the  School  of  Mines, 
but  is  now  occupied  by  the  Geological  Survey  and 
Museum.  In  1850  he  became  chief  designer  to 
Messrs.  Hoole,  Robson  and  Hoole,  bronze  and 
metal-workers,  of  the  Green  Lane  Works,  Sheffield, 
who  at  the  Great  Exhibition  (1851)  attracted  con- 
siderable attention  by  exhibiting  stoves,  grates, 
firedogs,  decorative  panels,  and  what  not,  manufac- 
tured after  Stevens's  designs.  These  marked  a 
departure  in  English  metal-work  of  which  the  end 
is  not  yet.  Looking  at  the  dry-as-dust  catalogue 
half-a-century  later,  it  is  hard  to  grasp  the  fact  that 
these  unfathered  articles  of  commerce  owed  their 
origin  to  as  great  a  hand  and  brain  as  ever  has 
been,  certainly  in  this  country,  devoted  to  the  art 
of  sculpture.  In  1852  Stevens  returned  to  London 
and  designed  various  decorations  for  the  precincts 
of  the  British  Museum,  of  which  the  lions  sejeants 
are  now  preserved  within  the  building.  In  1856 
he  came  more  prominently  before  the  public  in 
connection  with  the  much-discussed  Wellington 
memorial,  which  at  last  occupies  in  St.  Paul's 
Cathedral  the  position  for  which  the  artist  intended 
it.  It  is  by  this  masterpiece  that  he  stands  to  be 
judged  by  posterit)'.  It  proved  at  once  the  crown- 
ing triumph  of  his  art  and  tlie  crowning  tragedy 
of  his  life.  Even  the  shortest  summary  of  the 
half-splendid,  half-sordid  story  is  here  impossible. 
Indeed  "  finis  "  is  not  yet  written.  The  contest 
Btill  rages  between  those  in  authority  who  have  no 
special  artistic  training  and  those  who  have  special 
knowledge  and  claim  to  speak  for  the  nation.  A 
great  responsibility  rests  upon  all  concerned  to  see 
that  the  noblest  piece  of  arcliitectonic  sculpture  in 
the  country  shall  be  subjected  to  no  further  in- 
dignity. Reference  on  one  side  and  the  other 
should  be  made  to  the  '  Nineteenth  Century '  for  May 
1892,  the  '  Magazine  of  Art '  for  March  and  October 
1903,  the  'Times' of  January  29, 1903,  the  'Saturday 
Review '  of  the  same  date,  the  '  Architectural  Re- 
view' for  March  and  August  1903,  and  other  con- 
temporary publications.  In  1875  "the  badgered 
artist's  thread  of  life,"  to  quote  the  '  Magazine  of 
Art,'  "  snapped  under  the  huniihation  and  the 
strain,"  his  death  occurring  at  his  house  in  Eton 
Road,  which  it  had  been  his  intention  to  turn 
into  an  Italian  palace,  loggia,  courtyard,  and  all 
complete. 

Although  Stevens's  name  will  go  down  to  pos- 
terity mainly  as  a  sculptor,  his  original  work  in  oils 
should  not  be  overlooked.  Amougst  the  most 
notable  of  his  paintings  may  be  mentioned  the 
portraits  of  Mr.  Leonard  Collmann  in  South  Ken- 
sington Museum,  of  Mrs.  Collmann  in  the  Tate 
Gallery,  and  of  Mr.  Morris  Moore,  exhibited  at 
Burlington  House  in  1901.  No  work  of  his  was 
accepted  by  the  Royal  Academy  during  his  life- 
time, but  tire  year  following  his  death  (1876)  two 
pieces  of  his  sculpture  were  exhibited,  and  in  1890, 
at  the  instigation  of  Lord  (then  Sir  F.)  Leighton,  a 
room  was  set  apart  for  his  drawings  and  models  at 
the  Winter  Exhibition.  Some  of  his  finest  work  is 
to  be  found  in  Dorchester  House,  Park  Lane, 
whilst  at  South  Kensington  the  designs  for  the 
Wellington  Monument  are  open  to  the  inspection 


of  all,  together  with  a  noble  collection  of  life 
studies  in  red  chalk.  There  are  two  valuable 
monographs  on  Stevens,  a  small  volume  by  Sir 
Walter  Armstrong,  published  by  '  L'Art '  in  1881, 
and  two  large  folios  by  Mr.  H.  Stannus,  published 
by  the  Autotype  Company  in  1891.  G.  S.  L. 

STEVENS,  Anthonis,  painter,  a  native  of 
Mecldin,  flourished  in  the  second  part  of  the  16th 
century,  and  was  the  head  of  a  numerous  family 
of  artists.  For  his  eldest  son,  see  Stevens,  Pieter. 
His  daughter,  Joanna,  married  a  painter,  Maurice 
MoREELSE,  and  had  a  son  Maurice,  who  was  also  a 
painter.  His  younger  son,  Jakob  Stevens  the 
elder,  flourished  at  Mechlin  at  the  beginning  of  the 
17th  century,  and  settled  at  Antwerp,  but  later 
practised  again  at  Mechlin,  where  he  married  in 
1614.  He  died  before  1630,  leaving,  among  other 
children,  two  sons,  Jan  and  Jakob  (g.  v.). 

STEVENS,  D.,  an  English  portrait  painter  of  the 
18th  century.  He  painted  a  portrait  of  George  I., 
which  was  engraved  by  J.  Faber. 

STEVENS,  Francis,  water-colour  painter,  born 
in  1781.  He  appears  to  have  been  a  pupil  of  P. 
S.  Munn,  and  his  name  first  appears  at  the  Royal 
Academy  in  1804.  Joining  the  Water-Colour 
Society  in  1806,  his  works  were  exhibited  there 
for  a  few  years,  and  he  assisted  in  forming  the 
Sketching  Society.  He  then  seems  to  have  mi- 
grated to  Norfolk,  as  in  1810  he  belonged  to  the 
Norwich  Society  of  Artists.  His  latter  years  were 
spent  in  Exeter,  where  he  died  suddenly  from 
apoplexy  in  1822  or  1823.  There  is  a  volume  of 
etchings  of  English  cottages  and  farm-houses, 
published  by  him  in  1815.  The  following  are  two 
specimens  of  his  work  with  the  brush  : 

Devon  and  Exeter  Insti-  )  t     i.i  -  u  i-n  i  ann 

.    ■ .  >  Lustleigh  Cleeve.    1820. 

&  Kensington .  A  Devonshire  Cottage.    1806. 

STEVENS,  Jakob,  the  younger,  painter,  the 
Sun  of  Jakob  Stevens,  was  born  at  Mechlin  in  1593. 
He  was  his  father's  pupil,  practised  in  his  native 
town,  and  married  there  in  1620.  Having  lost  his 
first  wife  by  the  plague,  he  married  his  pupil, 
Agnes  Bisschops,  in  1626.     He  died  in  1662. 

STEVENS,  Jan,  called  De  Cuypere,  a  Flemish 
painter  of  the  14th  century.  Details  of  his  life 
and  works  are  wanting.  The  town  registers  of 
Antwerp  record  that  he  was  practising  in  that  city 
in  1378.  His  father,  Andries  Stevens,  also  worked 
as  a  painter  at  Antwerp. 

STEVENS,  Jan,  painter,  the  son  of  Jakob  the 
elder,  was  born  at  Mechlin  in  1595.  He  was  a 
member  of  the  Guild  of  S.  Luke,  practising  in  his 
native  town  and  at  Antwerp.    He  died  about  1627. 

STEVENS,  Jan  or  John,  a  Dutch  landscape 
painter,  settled  in  England  in  the  early  part  of 
the  18th  century.  His  works  were  chiefly  small  pic- 
tures in  the  manner  of  Van  Diest ;  many  are  to 
be  found  in  old  English  houses  over  doors  and 
chimney-pieces.     He  died  in  London  in  1722. 

STEVENS,  JoHANN,  (or  Stephanus,)  a  German 
engraver,  who  flourished  at  Strasburg  about  the 
year  1585.  His  plates  are  frequently  little  more 
than  outlines,  but  they  are  from  his  own  designs, 
and  prove  him  to  have  been  a  man  of  some  genius. 
He  generally  marked  them  with  the  initials  I.  and 
S.  and  the  date. 

STEVENS,  John,  a  Scotch  subject  and  portrait 
painter,  born  at  Ayr  about  1793.  He  studied  in 
the  schools  of  the  Royal  Academy,  where  he 
obtained  two  silver  medals  in  1818.     After  prac- 

127 


A  BIOGRAPHICAL  DICTIONARY  OF 


tising  portraiture  for  a  time  at  Ayr,  be  went  to 
Italy,  where  he  spent  the  chief  part  of  his  artistic 
career.  He  was  a  foundation  member  of  the  Scottish 
Academy.  Travelling  in  France,  he  met  with  a 
railway  accident,  which  eventually  brought  about 
his  death  at  Edinburgh  in  1868.  As  specimens  of 
his  art  may  be  cited  : 

Edinburgh.       Nat.  Gal.    The  Standard-Bearer. 
London.  Nat.  Port.  Gal.    Sir  0.  Bell. 

STEVENS,  John,  an  English  engraver  of  the 
18th  century,  who  practised  in  London,  and  en- 
graved a  series  of  views  of  English  scenery  in 
conjunction  with  C.  Grignon. 

STEVENS,  Joseph  E.,  painter,  elder  brother  of 
Alfred  Stevens,  was  born  in  1819  at  Brussels. 
Never  very  robust  in  health,  and  of  retiring  dis- 
position, he  did  not  become  well  known  to  the 
general  public,  but  as  an  animal  painter  he  holds 
very  high  rank.  He  was  self-taught,  and  at  an 
early  age  went  to  pursue  his  art  studies  in  Paris, 
returning  to  Brussels  in  1844.  At  Paris  and  at  the 
Brussels  Salon  he  at  once  won  notice  by  his  pictures 
of  animals,  particularly  of  dogs,  which  he  painted 
with  intimate  sympathy  and  skill.  His  exhibits 
at  the  Paris  Salon  from  1847  to  1870  estabhshed 
his  reputation.  Among  his  best  pictures  may  be 
mentioned  :  'A  Dog  carrying  his  Master's  Dinner' 
(1847);  'Tantalus'  (1850);  'A  Remembrance  of 
Brussels  Streets  '  (1852  ;  in  the  Rouen  Museum)  ; 
'Flemish  Bull  pursued  by  a  Dog'  (1853);  'The 
Dowager's  Dog'  (1857);  'A  poor  Beast'  (1859); 
'  The  Chimney  Corner  '  and  '  Dog  mourning  his 
Master'  (1861).  An  exhibition  of  thirty  of  his  best 
works  was  held  at  the  Maison  d'Art  in  Brussels 
in  1897-98.  In  the  Royal  Gallery  of  Brussels  there 
are  five  works  by  liim — 'Brussels  in  the  Morning,' 
'  Scene  in  tlie  Dog  Market,  Paris,'  '  The  Dog  at  the 
Mirror,'  '  The  Forge,'  and  '  After  Work ' ;  and  in 
the  Antwerp  Gallery  hangs  his  '  Dog  with  the 
Turtle.'  Stevens  won  second-class  medals  at  the 
Salons  of  1852,  1855,  1857,  and  1861,  became  a 
Chevalier  of  the  Legion  of  Honour  in  1866,  and 
was  made  an  Officer  of  the  Order  of  Leopold  in 
1863.  He  was  well  versed  in  the  theory,  practice, 
and  history  of  painting,  and  won  some  distinction 
as  an  art  critic.  He  died  at  Brussels  on  Aug. 
3,  1892.  JI.  H. 

STEVENS,  Palamedes.    See  Stevaerts. 

STEVENS,  (or  Steevens,)  Pieteb,  called  Ste- 
PHANI,  a  painter,  born  at  Mechlin  in  1540,  was  the 
eldest  son  of  Anthonis  Stevens  of  Mechlin.  He 
Bottled  at  Prague  about  1590,  and  was  appointed 
painter  to  the  Emperor  Rudolph  II.  In  1600  he 
is  said  to  have  returned  to  his  native  town,  and  to 
have  painted  four  landscapes,  which  Gillis  Sadeler 
engraved  in  1620,  under  the  name  of  '  The  Four 
Seasons.'  He  was  the  uncle  of  Maurice  Moreelse 
the  younger,  who  studied  under  him  at  Prague. 
Stevens  died  at  Prague  after  1620.  In  the  Vienna 
Gallery  there  is  a  '  Woody  Landscape  with  a  Stag 
and  Hounds '  by  him,  and  a  '  Fight  with  the 
Amalekites ' ;  two  small  landscapes  in  the  Bruns- 
wick Gallery  are  also  attributed  to  him.  It  has 
been  stated  that  several  German  painters  called 
Stevens  or  Stephani,  (a  name  adopted  by  Pieter 
Stevens  at  Prague,)  were  offshoots  of  his  family. 
The  following  artists  are  among  his  known  and 
supposed  descendants : 

Pieter  Stevens  the  younger,  his  son,  painter 
and  engraver,  practised  at  Prague.  Anthonis 
Stevens  the  younger,  called  Stephani,  his  grandson, 
128 


painter,  settled  at  Prague  in  1644,  and  died  there  in 
1672.  Anthonis  Stevens  was  also  known  as  Stevens 
of  Steinf  els,  and  had  a  son  a  fresco-painter,  who  died 
at  the  beginning  of  the  18th  century.  One  Stein- 
FELS  or  Stevens,  who  worked  in  1695 — -1698  at  the 
convent  of  Waldsassen,  in  Bavaria,  was  probably 
of  the  family,  as  also  a  certain  Paul  Stevens,  who 
practised  at  Prague  in  1674. 

STEVENS,  (or  Stievens,)  Richard,  a  Dutch 
painter,  sculptor,  and  medallist,  who  came  to 
England  in  the  reign  of  Elizabeth,  and  designed 
and  executed  the  monument  to  Radoliffe,  Earl  of 
Sussex,  in  Boreham  Church,  Suffolk.  The  Lumley 
family  possesses  some  portraits  by  him,  notably  one 
of  John,  Lord  Lumley,  1590,  painted  in  the  manner 
of  Holbein.  The  curious  portraits  of  Queen  Eliza- 
beth, in  a  gown  embroidered  with  sea-monsters, 
and  of  Mary  Queen  of  Scots,  both  at  Hardwicke, 
have  been  ascribed  to  him.  His  reputation  in 
England  rests  chiefly  on  his  achievements  as  a 
medallist. 

STEVENSON,  Thomas,  an  English  landscape 
painter,  and  pupil  of  Aggas,  practised  towards  the 
end  of  the  17th  century.  He  made  the  designs  for 
the  Jubilee  pageants  of  the  Goldsmiths'  Company, 
in  the  mayoralty  of  Sir  Robert  Vyner.  He  also 
painted  portraits,  two  of  which  were  engraved. 

STEVER,  Gdstav  Curt,  historical  and  genre 
painter,  was  born  at  Riga  in  1823,  and  went  in  1847 
to  the  Berlin  Academy,  whence  he  was  summoned 
in  1850  to  Stockholm,  where  he  painted  portraits 
for  the  Court,  and  for  Upsala  University.  In  1854  he 
went  to  Paris,  and  studied  in  the  school  of  Couture. 
His  chief  works  are:  'The  Death  of  Gottschalk, 
the  Vandal  King,' '  Abishag  and  King  David,'  '  The 
Transfiguration,'  'The  Visitation,'  ''The  Last  Sup- 
per,' cartoons  of  the  Four  Evangelists  for  the 
windows  of  the  Schroder  Mausoleum  in  Hamburg, 
and  cartoons  for  the  windows  of  S.  Paul's  Church  in 
Schwerin.  From  1859  to  1865  he  worked  in  Ham- 
burg, but  died  at  Diisseldorf  in  1877. 

STEVERS.    See  Stevaerts. 

STEWARDSON,  Thomas,  was  bom  at  Kendal  in 
1781.  He  went  to  London,  and  became  a  pupil  of 
Romney.  He  painted  portraits  with  considerable 
success,  and  was  appointed  to  the  household  of 
Queen  Caroline.  His  portrait  of  Grote  is  in  the 
National  Portrait  Gallery.  He  died  in  London  in 
1859. 

STEWART,  Anthony,  born  at  CriefE,  Perthshire, 
in  1773,  was  placed  under  Alexander  Nasmyth  in 
Edinburgh  to  study  landscape.  He  made  many 
sketches  of  Scotch  scenery,  but  at  an  early  period 
took  to  miniature,  which,  after  some  practice  in 
Scotland,  he  adopted  as  his  profession,  and  estab- 
lished himself  in  London.  He  painted  the  Princess 
Charlotte,  and  the  first  miniature  ever  done  of  the 
Princess  Victoria.  In  the  last  fifteen  years  of  his 
life  he  devoted  himself  entirely  to  painting  children. 
He  died  in  London  in  1846. 

STEWART,  Gilbert.     See  Stdart. 

STEWART,  James,  an  English  portrait  painter, 
who  practised  in  the  middle  and  latter  half  of  the 
18th  century.  He  was  appointed  Sergeant  Painter 
to  George  III.  in  1764,  and  worked  for  Boydell. 
There  is  a  portrait  of  G.  F.  Cooke  by  him  at  the 
Garrick  Club. 

STEWART,  James,  painter  and  engraver,  was 
born  at  Edinburgh  in  1791.  He  studied  under 
Robert  Scott  and  John  Burnet,  and  at  the  Trustee's 
Academy,  under  Graham.  His  first  plate  was 
'Tartar  Brigands  dividing  their  Spoil,'  after  Allan, 


PAINTERS  AND  ENGRAVERS. 


on  which  followed  '  The  Murder  of  Archbishop 
Sharp,'  and  'The  Abdication  of  Mary  Stuart,' 
after  the  same.  At  this  time  Stewart  was  teach- 
ing in  Edinburgh.  In  1830  he  went  to  London, 
where  he  engraved  Wilkie's  'Gentle  Sheplierd,' 
'  The  Pedlar,'  and  '  Tlie  Penny  Wedding.'  In  1833 
he  emigrated  and  went  to  Algoa  Bay.  When 
the  Caffre  insurrection  broke  out  his  farm  was  de- 
stroyed, and  he  and  his  family  had  to  fly  to  Somer- 
set. He  then  fell  back  upon  art,  and  by  painting 
portraits  and  teaching  he  was  enabled  to  buy 
another  farm,  on  which  he  resided  for  many  years. 
He  died  in  the  colony  in  1863. 

STEYAERT,  Anthonie,  painter,  bom  at  Bruges 
in  1765.  He  studied  at  the  Academy  of  his  native 
town,  and  afterwards  settled  at  Ghent,  where  he 
became  a  Professor  at  the  Academy,  and  died  in 
1863.  In  the  church  of  S.  Nicholas  at  Ghent 
there  is  a  '  S.  Anthony '  by  him. 

STIELER,  Joseph  Karl,  was  born  at  Mayence 
in  1781.  After  working  for  a  time  at  miniature 
painting,he  studied  oil  underFasel  at  Wurzburg,  and 
then  went  to  study  under  Fiiger,  at  Vienna.     In 

1805  he  was  painting  in  Poland,  whence  he  pro- 
ceeded to  Paris  to  work  under  Gerard.  Then  he 
painted  a  '  S.  Charles '  for  the  Grand  Duke  of 
Frankfort,  in  which  city  he  was  in  1808.    Between 

1806  and  1816  he  visited  Frankfort,  Milan,  Rome, 
Munich,  and  Vienna.  In  1820  he  became  painter 
to  the  Austrian  court.  Among  others  he  painted 
portraits  of  Goethe,  Tieck,  Humboldt,  Schelling, 
and  Beethoven.     He  died  at  Munich  in  1858. 

STIEMART,  Francois,  portrait  painter,  born  at 
Douai  in  1680,  was  keeper  of  the  French  king's 
pictures,  and  decorator  to  the  Louvre.  He  was 
received  into  the  Academy  in  1720,  his  reception 
picture  being  a  copy  after  Rigaud's  portrait  of 
Louis  XIV.  There  is  by  him  at  Fontainebleau  a 
picture  of 'Children  Playing  with  a  Dog.' 

STIFTER,  Adalbert,  the  poet,  born  at  Ober- 
plan,  in  Bohemia,  in  1806,  was  also  known  as  a 
painter  of  miniatures.  An  example  of  his  work  on 
copper  is  in  Ilerr  R.  Fischer's  collection  in  Vienna. 
He  died  at  Linz  in  1868. 

STILKE,  Hermann,  painter,  born  at  Berlin  in 
1803,  received  his  first  instruction  in  the  Academy 
there.  In  1821  he  went  to  Munich,  and  then 
accompanied  Cornelius  to  Diisseldorf.  After  he 
had,  with  Stiirmer,  painted  a  '  Last  Judgment '  in 
the  Assize  Court  in  Coblenz,  he  devoted  himself  to 
the  frescoes  in  the  Court  garden  in  Munich.  From 
Munich  he  went  to  Italy,  and  on  his  return  in  1833 
joined  Sohadow  at  Diisseldorf.  From  1842-46  he 
was  engaged  on  frescoes  in  the  Rittersaal  at  Stol- 
zenfels,  and  in  1850  was  painting  frescoes  in  the 
Royal  Schloss  and  in  the  new  theatre,  at  Dessau. 
He  died  at  Berlin  in  1860.  His  'Children  of 
Edward  IV.  taken  from  their  Mother'  is  in  the 
National  Gallery,  Berlin.  His  wife,  Hermine,  was  a 
clever  designer  of  ornamental  borders,  initials,  &c., 
for  editions  'de  luxe.'     She  died  at  Berlin  in  1869. 

STIMMER,  JoHANN  Christoph,  perhaps  the 
younger  brother  of  Tobias  Stimmer,  was  born  at 
Schaffhausen  in  1552.  He  distinguished  himself 
as  an  eminent  engraver  on  wood,  and  executed 
cuts  from  the  designs  of  Tobias.  He  marked  his 
prints  with  a  monogram  composed  of  the  letters 

C.  S.  T.  M.,  thus,  \^l  •     But  there  is  much  dispute 

as  to  what  should  be  included  in  his  onivre  and 
as  to  whether  another  monogram,  in  which  C.  S. 
also  occurs,  should  be  ascribed  to  Stimmer  or  to 

VOL.  V.  E 


'Christoph  Maurer.  Besides  the  cuts  in  the  Bible, 
published  at  Basle  in  1586,  we  have  the  following 
prints  by  him  : 

A  set  of  cuts  for  the  New  Testament,  printed  at  Stras- 

burg  in  1588. 
A  set  of  portraits  of  German  savants ;  published  by 

Bernard  Jobio,  at  Strasburg,  in  1587 
A  set  of  Emblems  entitled  Icones  AffabrcB,  published  by 

B.  Jobio  at  Stra.sburg,  in  1591. 

See  also  Le  StiissE. 

STIMMER,  Tobias,  was  bom  at  Schaffliausen  the 
7th  of  April,  1539.  It  is  not  known  under  whom 
he  studied,  but  he  acquired  a  reputation  by  decor- 
ating the  fa9ades  of  houses  in  his  native  town  with 
historical  subjects  in  fresco.  He  was  invited  to 
the  court  of  tlie  Margrave  of  Baden  to  paint  a  series 
of  ancestral  portraits.  His  frescoes  have  perished  ; 
but  his  ability  appears  in  the  woodcuts  from  his 
designs.  Tobias  Stimmer  also  engraved  on  wood 
himself,  and  with  his  brother,  Johann  Christoph 
Stimmer,  executed  the  cuts  for  the  Bible  published 
at  Basle  in  1586,  and  '  Novse  Tobia?  Stimmeri 
sacrorum  Bibliorum  figurje  versibus  Latinis  et 
Germanicis  expositw,'  which  he  had  himself 
designed.  Rubens  declared  he  had  studied  these 
prints  with  attention,  and  recommended  them  to 
young  artists.  Among  his  other  works  may  be 
named  cuts  for  a  '  Livy,'  a  '  Josephus,'  cuts  of 
animals  for  a  '  Neues  Jagdbuch,'  1590,  and  a  series 
of  satirical  drawings  directed  against  the  Pope. 
Tobias  Stimmer  usually  marked  his  prints  with  a 

monogram  composed  of  a  T.  and  an  S.,  thus    ^  . 

He  died  in  1592  (?). 

STIRNBRANDT,  Fbanz  Xaver,  was  bom  about 
1793.  He  began  his  career  as  a  painter  upon 
lacquer,  and  afterwards  worked  in  Frankfort,  orna- 
menting metal  boxes.  In  1813  he  went  to  Stiittgart, 
and  afterwards  studied  in  Paris  and  in  Rome. 
Returning  to  Stiittgart  in  1825,  he  obtained  a  good 
practice  as  a  portrait  painter,  and  painted  various 
members  of  the  royal  family.     Ho  died  in  1880. 

STOBER,  Fkanz,  engraver,  born  at  Vierma  in 
1795,  son  and  pupil  of  Josef  Stober,  studied  at  the 
Academy  of  Vienna  under  Maurer,  where  he  gained 
83veral  prizes.  At  first  he  worked  with  his  father 
for  books  and  almanacks,  but  in  1830  he  engraved 
the  portraits  of  the  Emperor  Francis  and  the  Em- 
press Caroline  Augusta,  Don  Miguel,  and  Alexander 
von  Humboldt.  His  plates  are  numerous ;  among 
them  we  may  name  : 

The  Return  of  the  Ptasant ;  after  WaldmuUer.     1835. 

The  Death  of  Zriny  ;  after  Kr'afft.     1838. 

The  Spendthrift ;  after  Dannhauser. 

The  Convent  Soup  ;  after  the  same.    1839. 

The  Opening  of  the  Will ;  after  the  same.     1843. 

The  Novel  Keadiug ;  after  the  same.    1851. 

S.  Catharine  of  Siena  ;  after  Rieder.    1846. 

Dolce  far  Nieute  ;  after  Ender.     1,551. 

Madonna  with  the  Child  ;  after  Sassoferrato. 

The  Judgment  of  Solomon  ;  after  Fiihrich.   1853. 

The  Sibyls  ;  after  Raphael.   1854. 

Besides  these  he  has  also  left  some  etcliings  of 
Austrian  celebrities  after  Dannhauser.  He  died  in 
1858.  . 

STOBER,  Franz,  painter,  born  at  Vienna  in  1760, 
studied  with  the  Jesuits,  and  under  the  painter 
Cliristian  Brand.  He  afterwards  paid  a  visit  to 
the  Netherlands  to  study  the  Dutch  masters,  lie- 
turning  to  Vienna,  he  met  with  no  success,  and  so 
settled  at  Spiers.  He  painted,  among  other  things, 
the  '  Falls  of   the  Rhine  at  Schaffhausen,'  and  a 

12'J 


A  BIOGRAPHICAL  DICTIONARY  OF 


view  of  the  ruins  of  St.  James's  Church  at  Spiers. 
He  died  at  Vienna  in  1834. 

STOCK,  Andbeas,  resided  chiefly  at  Antwerp, 
where  (?)  he  was  born  about  1616.  He  is  supposed 
to  have  been  a  pupil  of  Jakob  de  Gheyn  the  elder, 
from  the  similarity  of  their  style.  He  engraved 
several  of  the  plates  for  the 'Academic  de  L'Espee,' 
published  at  Antwerp  by  Thibeau ;  which  are 
inscribed  Andreas  Stokius  Hagce  Comitis  scvlp. 
We  have  the  following  plates  liy  him  : 

Albrecht  Diirer  ;  Effigies  Alherti  Dureri.  And.  Stock,  se. 
1629. 

Hans  Holbein ;  Effigies  Holbeini,  Pictcyris  celeberrimi  se 
ipse  pinx.  A  nd.  Stock,  fecit. 

Lucas  van  Leyden  ;  from  a  picture  hy  himself. 

Peter  Sneyers,  Painter  ;  after  A.  7'andyck. 

The  Sacrifice  of  Abraham  ;  after  Rubens. 

The  Twelve  Mouths  in  the  Year  ;  after  Wildens. 

A  set  of  eight  Landscapes ;  after  Paul  Brill. 

STOCK,  Doris,  (Dora,)  painter,  born  at  Leipsic 
in  1761,  was  a  daughter  of  Johann  Michael  Stock, 
an  obscure  engraver.  She  was  a  member  of  the 
Dresden  Academy,  and  copied  many  of  the  principal 
works  in  the  Dresden  Gallery.  She  also  gained 
some  reputation  by  original  works.  She  died  in 
1816. 

STOCK,  Martin,  painter,  was  bom  at  Hermann- 
stadt  in  1746.  He  was  a  pupil  of  Meyten,  and 
settled  at  Pressburg,  where  he  painted  altar-pieces 
and  portraits.  He  left  a  set  of  etchings  of  Gipsy 
musicians.  He  died  in  1800,  having  for  some  time 
abandoned  art  for  trade. 

STOCKADE.     See  Helt-Stokade. 

STOCKER,  JoRQ,  (Stocker,)  painter  of  Ulm, 
who  flourished  from  1481  to  1525.  To  him  are 
assigned  a  panel  in  the  Neidhart  Chapel  at  Ulm, 
and  altar-pieces  at  Oberstadion  and  Disohingen. 

STOCKMANN,  Jakob,  painter,  born  at  Ham- 
burg about  1700,  studied  in  Holland  under  Meyering 
and  M.  Carr4  He  painted  landscapes  with  animals, 
and  died  at  Hamburg  in  1750. 

STOCKS,  Arthur,  son  of  Lumb  Stocks,  the  en- 
graver, was  born  in  London  on  April  9,  1846.  He 
was  educated  at  the  Islington  Proprietary  School, 
and  became  a  pupil  of  his  father  with  a  view  to 
practising  as  an  engraver.  Later  he  entered  the 
Royal  Academy  Schools,  and  thenceforth  devoted 
Ilia  attention  to  painting.  In  1866  he  exhibited  his 
first  picture,  '  'Twas  a  Famous  Victory,'  at  Suffolk 
Street.  In  the  following  year  he  made  his  first 
appearance  at  the  Academy  with  '  Christmas  Up- 
stairs '  and  'The  Expected  Letter,'  and  continued 
to  exhibit  pictures  of  a  similar  domestic  type, 
marked  with  spirit,  intelligence,  and  no  little  talent. 
To  the  Academy  he  contributed  fifty-nine  pictures 
in  all,  among  the  more  important  being :  '  A 
Review  at  Chelsea,'  'Mending  the  Old  Cradle,' 
'The  Best  of  Husbands,'  'Her  Last  Sacrament,' 
'  Sermon  Time,'  '  At  Last,'  '  In  Memory,'  and  in 
1877  a  portrait  of  his  father.  He  was  also  an  ex- 
hibitor at  the  British  Institution,  the  Dud  ley  Gallerj', 
and  the  Institute  of  Painters  in  Oil-Colours,  and 
the  Royal  Institute,  of  which  he  was  elected  a 
member  in  1882.     He  died  on  October  12,  1889. 

IT  K 

STOCKS,  Lumb,  engraver,  was  born  on  Novem- 
ber 30,  1812,  at  Lightclifie,  Yorkshire,  where  his 
father  was  a  well-known  coal-owner.  He  attended 
a  school  at  Horton,  Bradford,  and  while  there 
received  some  instruction  in  drawing  from  C. 
Cope,  father  of  C.  W.  Cope,  R.A.  In  1827  he 
came  to  London,  and  was  articled  for  six  years  to 
C.  Rolls,  the   well-known   engraver.     In  1832  he 

loo 


made  his  first  appearance  at  the  Royal  Academy 
as  a  miniaturist,  or  draughtsman  in  crayons,  with  a 
'  Portrait  of  a  young  Artist,'  and  continued  to  send 
similar  work  till  1836.  He  then  devoted  himself 
entirely  to  engraving,  and  between  1840  and  1850 
produced  a  large  number  of  plates  after  Stothard 
for  the  popular  Annuals  of  the  day,  as  well  as 
illustrations  after  Meadows,  Cattermole,  and  others, 
for  Finden's  '  Gallery  of  Art'  and  similar  publica- 
tions. He  also  contributed  many  plates  to  the  '  Art 
Journal'  after  pictures  in  the  Vernon  Gallery  and 
the  Royal  Collection,  and  engraved  Callcott's 
'Raphael  and  the  Fornarina'for  the  Art  Union. 
His  best  engravings  were  exhibited  at  the  Royal 
Academy  from  1852  onwards,  among  them  being  : 
'The  Dame  School '  and  'The  Rubber,'  after  Web- 
ster;  'The  Gentle  Shepherd,'  after  Wilkie;  '  Bed- 
time,' '  The  Birthday,'  and  '  Claude  Duval,'  after 
Frith  ;  '  The  Odalisque '  and  '  The  Sister's  Kiss,' 
after  Leighton  ;  '  A  Souvenir  of  Velazquez '  and 
'The  Princes  in  the  Tower,'  after  Millais  ;  'Dr. 
Johnson  in  the  Ante-chamber  of  Lord  Chesterfield,' 
after  Ward;  'Nell  Gwynne,' after  Landseer ;  and 
'The  Meeting  of  Wellington  and  Bliicher  after 
Waterloo,'  after  Maclise.  Stocks  was  elected  an 
Associate  Engraver  of  the  Royal  Academy  in  1853, 
became  an  Academician  in  1872,  and  was  made 
auditor  to  the  Academy  in  1875.  He  was  perhaps 
the  last  of  the  old  school  of  engravers  in  the  pure 
line  manner,  and  his  long  series  of  plates,  executed 
in  this  style,  felicitously  interpreted  the  best  paint- 
ings of  his  day.  It  is  remarkable  that  his  '  Spanish 
Letter-Writer,'  after  Burgess,  exhibited  as  late  as 
1888,  was  one  of  his  most  successful  plates.  He 
died  on  April  28,  1892.  M  H 

STOCKVISCH.     See  Stokvis. 

STOER,  Lorenz,  a  native  of  Augsburg,  flour- 
ished about  the  year  1567.  He  is  mentioned  by 
Professor  Christ  ns  a  painter  and  engraver  on 
wood,  and  is  said  to  have  marked  his  cuts  with  the 

cipher  $j. 

STOEVERE,  John  De,  Dean  of  the  Guild  of 
St.  Luke  at  Glient,  1438-.39.  W  H  J  \V 

STOEVERE,  John  De,  Dean  of  the  GuUd  of  St. 
Luke  at  Ghent,  1480-82  and  1493-94.    W  H.  J  W 

STOEVERE,  Saladin  De,  painter,  1434,  member 
of  Guild  of  St.  Luke  at  Ghent.  In  1444  painted 
the  portraits  of  the  donors  on  the  shutters  of  a 
triptych  for  the  Abbess  of  Nieuwenbossche  at 
Ghent,  the  centre  of  which  was  executed  by 
Baldwin  van  Wytevelde.  W.H.  J.  W. 

STOFFE,  J.  V.  D.,  a  painter  of  battle-pieces, 
chiefly  skirmishes  of  cavalry,  flourished  about  the 
}-ear  1649.  His  pictures  are  not  uncommon,  though 
his  history  is  not  known.  They  are  generally  small, 
on  panel,  spirited  in  action,  well-drawn,  and 
smoothly  finished.  They  are  sometimes  attributed 
to  D.  Stoop,  or  Esaias  Vandevelde.  His  pictures, 
when  untouched,  have  his  name,  and  sometimes 
the  date. 

STOKADE.    See  Helt-Stokade. 

STOKER,  Bartholomew,  portrait  painter,  was 
the  son  of  an  upholsterer  in  Dublin,  and  studied  at 
the  art  schools  in  that  town,  working  at  the  same 
time  under  his  father.  He  became  very  successful 
as  a  portraitist  in  crayons.  He  died  at  Dublin  in 
1788. 

STOKVIS,  Hendrik,  (Stokvisch,)  painter,  born 
at  Loenen,  in  the  province  of  Utrecht,  in  1768,  went 
when  he  was  seventeen  years  of  age  to  Amsterdam, 
to  learn  drawing  and  painting  under  J.  C.  Schultsz. 


PAINTERS   AND    ENGRAVERS. 


He  studied  hard  from  nature,  and  painted  land- 
scapes with  sheep,  oxen,  &c.,  often  in  Indian  ink 
and  pastel.  He  died  in  1824.  The  Amsterdam 
Museum  possesses  a  good  example  of  his  art :  it  is 
signed  H.  Stokvisch. 

STOLKER,  Jan,  portrait  painter,  designer,  and 
engraver  in  aquafortis  and  mezzotint,  was  born  at 
Amsterdam  in  1724,  and  studied  portrait  painting 
there  under  J.  M.  Quinlihardt,  with  whom  he  re- 
mained till  he  was  twenty-three.  He  then  removed 
to  the  Hague,  where  he  lived  nine  years  painting 
portraits  and  family  groups  ;  moving  afterwards 
to  Rotterdam,  and  there  following  the  same  branch 
of  art.  He  also  painted  cabinet  pictures.  When 
about  fifty  he  abandoned  painting,  and  devoted 
himself  to  making  copies  in  water-colours  and 
Indian  ink.  He  etched  some  plates  after  Rem- 
brandt, F.  Hals,  Jan  Steen,  Schalcken,  Adriaen 
Ostade,  Brekelenkam,  and  others.  He  was  also 
much  employed  on  designs  for  hangings  and  other 
decorations.  There  is  a  portrait  group  by  him  in 
the  Rotterdam  Museum.  He  died  at  Rotterdam 
in  1786. 
STOLTZHIUS  (Stolzius).  See  Stoss. 
STOLZEL,  Christian  Ernst,  engraver,  bom  at 
Dresden  in  1792,  was  the  son  and  pupil  of  Christian 
Friedrich  Stolzel.  He  first  copied  the  works  of 
Goltzius,  Preissler,  Seifest,  and  Bervic,  and  then  en- 
graved a  '  Hagar  in  the  Wilderness,'  after  Baroccio, 
and  several  vignettes  and  small  portraits.  In  1822 
he  went  on  foot  to  Italy,  where  he  painted  land- 
scapes, engraved  a  '  St.  Catharine '  and  a  '  St.  John 
the  Evangelist,'  after  Fra  Angelico,  and  made  a 
drawing  of  Raphael's  '  Coronation  of  the  Virgin,' 
which  on  his  return  home  he  engraved.  He  died 
in  18,^7. 

STOLZEL,  Christian  Friedrich,  engraver,  born 
at  Dresden  in  1751,  studied  under  Schenau  and 
Canale.  He  engraved  portraits,  genre  and  his- 
torical pictures,  and  landscapes,  and  became  chief 
engraver  to  and  member  of  the  Dresden  Academy. 
Among  his  best  works  we  may  name : 

Portrait  of  Schenaii ;  afUr  Vogel. 
OhrLst  on  the  Cross  ;  after  Schtnau. 
The  Magdalene  ;  after  Guido  Bent. 
The  Wise  Man  ;  after  Schenau. 

March  of  a  Begiment  of  Ural  Cossacks  ;  after  K.  A 
Hess. 

He  died  in  1815. 

STOM,  or  STOOM,  Matth^ds,  was  born  in  1G43, 
probably  in  Flanders,  and  practised  principally  in 
Italy.  He  painted  landscapes  and  battle-pieces, 
and  died  at  Verona  in  1702.  Five  of  his  pictures 
are  in  the  Dresden  Gallery.  Another  painter  of 
the  same  name  painted  an  altar-piece  now  in  the 
church  of  St.  Cecilia,  at  Messina. 

STOMME, ,  a   still-life   painter,   of   whom 

there  is  no  account,  who  appears  to  have  been  an 
imitator,  if  not  a  scholar,  of  Johan  Davidsz  De 
Heem.  A  signed  picture  by  him  is  in  the  Museum 
at  Brussels. 

STONE,  Frank,  a.b.a.,  an  English  painter,  was 
born  at  Manchester,  August  22,  1800.  His  father 
was  a  cotton-spinner,  and  brought  his  son  up  to  his 
own  business,  but  at  the  age  of  twenty-four  the 
j'oung  man  obtained  leave  to  study  art  as  a  pro- 
fession. He  worked  diligently  in  his  new  calling, 
and  in  1831  came  to  London.  His  first  works  were 
in  water-colour  ;  distinguished  chiefly  by  a  pretty 
sentimentality,  they  caught  the  popular  taste,  and 
the  artist  rose  quickly  into  public  favour.  In  1837 
he  was  elected  an  Associate  Exhibitor  of  the  Water- 
K  2 


Colour  Society,  and  in  the  same  year  began  to  con- 
tribute to  the  exhibitions  of  the  Royal  Academy. 
His  first  essays  in  oil  had  a  rapid  success.  His 
pictures  were  engraved,  and  became  widely  known. 
In  1841  he  was  awarded  a  premium  of  fifty  guineas 
by  the  British  Institution,  and  in  1843  he  became 
a  member  of  the  Water-Colour  Society,  a  distinc- 
tion which  he  resigned  in  1847.  In  1851  he  was 
chosen  an  associate  of  the  Royal  Academy,  and 
his  works  began  gradually  to  assume  a  higher 
character,  his  'Gardener's  Daughter'  being  a  dis- 
tinct advance  in  achievement.  Some  French 
subjects  treated  at  this  period  showed  similar  im- 
provement. His  sudden  death  from  heart  disease 
took  place  in  London,  November  18, 1859.  He  was 
the  father  of  Mr.  Marcus  Stone,  R.A.  'Tlje  follow- 
ing are  among  his  most  popular  works  :  '  The 
First  Appeal,'  'The  Last  Appeal,'  'Checkmate,' 
'  Mated,'  '  The  Course  of  True  Love  never  did  run 
smooth,'  and  'The  Gardener's  Daughter.' 

STONE,  Henry,  painter  and  sculptor,  the  son 
of  Nicholas  Stone,  master  mason  to  James  I., 
was  usually  called  Old  Stone,  to  distinguish  him 
from  his  younger  brother,  John.  As  a  painter 
he  is  principally  known  by  his  exrellent  copies 
after  Vandyck  and  some  of  the  Italian  masters. 
By  his  epitaph,  which  is  preserved  by  Walpole,  it 
appears  that  he  passed  several  years  in  Holland, 
France,  and  Italy,  and  died  in  London  in  165.S. 
He  was  the  last  survivor  of  the  family,  and  was 
buried  in  one  grave  with  his  father  and  brothers  : 
the  epitaph  commencing,  'Four  rare  stones  are 
gone,  the  father  and  three  sons,'  &c.  A  copy  by 
him  of  Titian's  '  Cornaro  Family  '  is  at  Hampton 
Court.  Many  portraits  ascribed  to  Vandyck  are 
really  copies  by  '  Old  Stone.' 

STONE,  Horatio,  a  New  York  physician,  a 
native  of  New  England,  born  in  1810,  wlio  gave 
up  all  his  spare  time  to  drawing  and  sculpture. 
He  had  considerable  skill  in  delineating  a  portrait, 
but  was  not  quite  so  successful  when  transferring 
it  to  the  stone.  Acquiring  a  competence  through 
the  medical  profession,  he  determined  to  travel 
abroad,  and  spent  many  years  in  Italy,  where  he 
worked  very  hard,  making  drawings  of  the  great 
works  of  sculpture  to  be  seen  in  that  country.  He 
died  in  1875. 

STONE,  John,  was  the  brother  of  Henry  Stone, 
and  followed  his  father's  profession  of  stone- 
cutter. He  also  copied  the  old  masters.  Thomas 
Cross  is  said  to  have  taught  hira  engraving  :  one 
of  the  plates  for  Dugdale's  '  History  of  Warwick- 
shire '  is  by  him  ;  he  also  published  anonymously 
'  Euchiridion,'  a  book  on  fortification,  with  small 
plates  engraved  by  himself.  He  died  soon  after 
the  Restoration. 

STONE,  William  Oliver,  an  American  por- 
trait painter  of  some  considerable  repute,  a  Con- 
necticut man,  born  at  Derby  in  1830.  Fur  most 
of  his  life  he  lived  in  New  York,  where  he  became 
a  member  of  the  Academy  of  Design,  and  where 
he  exhibited  with  great  regularity.  Occasionally 
he  sent  over  portraits  to  London  for  exhibition, 
and  they  were  well  hung  at  the  Roy.al  Academy. 
His  most  success^ful  works  represented  women  and 
children,  but  he  himself  was  always  desirous  of 
painting  portraits  of  men,  and  expected  to  produce 
some  notable  masterpiece  in  this  respect.  Per- 
haps his  best  portrait  of  a  man  represents  James 
Gordon-Bennett,  and  one  of  the  most  charming 
portraits  of  women  he  ever  painted  was  of  a  Mrs. 
Hoey.     He  died  in  1875. 

131 


A  BIOGRAPHICAL  DICTIONARY  OF 


STOOM.     See  Stom. 

STOOP,  CoRNELis,  painter,  born  at  Hamburg  in 
1606.  Few  details  are  known  of  him,  but  there 
is  in  the  Dresden  Gallery  a  '  Rocky  Cave,  with 
Figures,'  ascribed  to  him. 

STOOP,  DiRCK,  (Thierry,  Roderigo,)  a  Dutch 
painter  and  engraver,  was  born  at  Utrecht  about 
1610.  He  was  the  son  of  a  glass-painter,  Willem 
Jansz  van  der  Stoop,  and  painted  cavalry  engage- 
ments, hunting  scenes,  seaports,  still-life  pictures, 
and  altar-pieces,  which  in  his  time  were  valued  very 
highly.  He  lived  for  a  time  at  Lisbon,  where  he  be- 
came painter  to  the  Court,  and  went  with  the  Infanta 
Catharine  to  London.  He  returned  to  Utrecht  in 
1678,  and  died  there  in  1686.  Walpole,  misled  by 
his  use  of  the  Portuguese  equivalent,  Roderigo,  fur 
his  Christian  name,  Dirck  or  Thierry,  and  by  the 
asserted  existence  of  a  brother,  Pieter,  makes  three 
men  of  him  (vol.  ii.  p.  137).  Works  by  him  are  to 
be  found  in  the  Galleries  of  Dresden,  Berlin,  and 
Copenhagen,  in  the  Cathedral  at  Halberstadt,  &c. 
Of  his  etchings  there  are  known,  the  plates  for  the 
first  part  of  Ogilvy's  translation  of '.lEsop's  Fables' ; 
'Twelve  breeds  of  Horses,'  published  in  1651;  a 
bird's-eye  view  of  the  Battle  of  Solebay,  fought 
between  the  English  and  Dutch  fleets  on  the  3rd 
and  4th  of  June,  1665,  signed  Ro.  Stoop,/.  London, 
in  the  cabinet  of  prints  at  Copenhagen,  and  believed 
to  be  unique.  Another  unique  jirint  in  the  same 
collection  represents  a  panorama  of  the  theatre  of 
war,  with  a  chart.  Another  rare  print  representing 
Oliver  Cromwell  dancing  on  the  tight-rope,  is 
ascribed  to  him.  There  is  an  impression  in  the 
British  Museum.     We  may  also  name  : 

The  Rape  of  Helen.     (British  Museum.) 

A  Skirmish  of  Cavalry.     (Ditto.) 

Portrait  of  Charles  II. 

Portrait  of  Catharine  of  Braganza,  wife  of  Charles  II., 

inscribed  Catharina  D.  G.  Magnse  Britanniae,  Frau- 

cise  et  Hibemise  Kegiua  Filia  Johannes  IIII.  Portug. 

&c. —  Consecrat   T.    Stoop.      On  the    left,    below  the 

inscription,  Lisbona  1662.     N.  Munier  f. 
The   Title.    In   a  cartouche,  is  inscribed  Al  I/lust"a. 

Lr^.  I).  Catharina  Rajnha  da  gran  Bretanha  D.    V. 

C.  R.  Stoop  1660  Lix*'.  ;  a  general  view  of  Lisbon,  with 

sea  and  numerous  vessels  in  front. 
Seven  views  of  Lisbon  and  vicinity ;  dedicated  to  Q. 

Catharine. 
Eight  large  plates  of  Q.  Catharine's  procession  from 

Portsmouth   to   Hampton    Court  on   her   arrival  in 

England. 

Impressions  of  five  plates  of  Dutch  battles,  sup- 
posed to  be  by  Stoop,  are  in  the  British  Museum. 

STOOP,  Jan  Pieter,  is  said  to  have  been  born 
in  Holland  in  1612,  and  to  have  painted  landscapes 
and  battle-pieces.  He  is  thought  to  have  been  the 
brother  of  Dirck  Stoop,  and  to  have  worked  in 
England. 

STOOPENDAAL,  Bastiaan,  engraver,  was  a 
native  of  Holland,  and  flourished  about  the  year 
1710.  In  his  best  plates  he  appears  to  have  imitated 
the  style  of  Cornelius  Visscher,  though  not  always 
with  success.  We  have,  among  others,  the  follow- 
ing prints  by  him : 

Sixty  Views  in  Holland,  entitled  Les  Delices  du  Diemer 

Meer  :  engraved /rom  his  own  designs. 
A  set  of  twenty-four  Views  near  the  Hague. 
Four  plates  representing  the  Departure  of  King  Willian- 

from  Holland  for  England,  his  Arrival,  his  Meetinj; 

the   Parliament,  and   his  Coronation  ;    in.<:cribed  B. 

Stoopendaal^fec. 
The  Robbers;  after  Bamboccio ;  B.  Stoopendaal,  ic. 
Attack  on  a  Military  Convoy ;  after  tht  same. 
A  Lime-kiln  ;  after  the  same. 
132 


The  last  three  are  fine  copies  from  Visscher. 
Stoopendaal  engraved  the  plates  for  Clarke's  Cfesar, 
published  in  1712. 

STOOPENDAAL,  Daniel,  a  contemporary  of 
Bastiaan  Stoopendaal,  etched  several  plates  after 
his  own  drawings. 

STOOTER,  Leonard,  painter,  was  born  at  Ley- 
den,  and  flourished  in  the  second  part  of  the  17th 
century.  He  settled  at  Antwerp,  where  he  was 
received  into  the  Guild  of  St.  Luke.  Teniers  is 
said  to  have  added  the  figures  to  a  picture  by 
him. 

STOPPELAER,  Herbert,  painter,  was  a  native 
of  Dublin,  and  came  to  London  with  Thomas  Frye. 
He  tried  various  means  of  making  a  living,  and 
was  by  turns  actor,  painter,  dramatic  writer,  and 
singer.  He  exhibited  portraits  with  the  Society 
of  Arts  in  1761-62,  and  designed  some  of  the 
humorous  subjects  published  by  Bowles.  He 
was  associated  with  Charles  Dibdin  in  the  Pata- 
gonian  Theatre,  a  puppet-show  held  over  Exeter 
'Change,  for  which  Dibdin  wrote  the  pieces,  while 
Stoppelaer  painted  the  scenery  and  worked  the 
puppets.  For  a  time  he  was  employed  as  an  actor 
by  Rich,  but  finding  that  he  could  live  by  por- 
trait painting,  he  seems  to  have  abandoned  his 
many  other  pursuits.  He  died  in  1772.  His  bro- 
ther, Michael,  also  practised  portrait  painting.  He 
painted  a  portrait  of  Joe  Miller,  in  1738,  which  has 
been  engraved. 

STORCK,  Abraham,  (Stork,)  painter,  bom  at 
Amsterdam  about  1630.  His  master  is  unknown, 
but  his  style  is  formed  on  that  of  Bakhuisen. 
His  pictures  usually  represent  views  of  the  Y,  or 
the  Amstel,  near  Amsterdam,  with  a  variety  of 
shipping  and  boats,  and  a  number  of  small  figures, 
correctly  drawn,  and  handled  with  spirit.  His  ships 
are  well  drawn,  his  colouring  clear  and  transparent, 
and  his  skies  and  water  light  and  floating.  One  of 
his  best  pictures  represents  the  arrival  of  the  Duke 
of  Marlborough  at  Amsterdam,  with  a  public  pro- 
cession of  ships,  barges,  and  3'acht8,  decorated  with 
flags  and  full  of  picturesque  figures.  Storck  painted 
figures  in  the  landscapes  of  Hobbema  and  Mou- 
cheron,  and  also  etched  a  few  plates.  He  died  at 
Amsterdam  in  1710  (?).  There  are  four  good  ex- 
amples of  his  art  in  the  Amsterdam  Museum,  besides 
others  at  Rotterdam,  Copenhagen,  Dresden,  and 
Brussels. 

STORELLI,  F.  M.  F.,  an  Italian  landscape 
painter,  bom  at  Turin  in  1778,  who  spent  most  of 
his  time  in  Paris,  where  he  exhibited  very  con- 
stantl}'.  His  works  can  be  seen  in  many  of  the 
picture  galleries  of  Paris,  especially  at  St.  Cloud, 
while  three  of  his  portraits  are  to  be  seen  at 
Versailles.     He  died  in  Paris  in  1854. 

STORER,  CHRiSTOfH  JoHANN,  (Stobreb,)  was 
born  at  Constance  in  1611.  He  travelled  in  Italy, 
and  studied  at  Milan  under  Ercole  Procaccini. 
After  beginning  well,  Storer  became  a  mannerist, 
and  not  unfrequently  adopted  gross  ideas.  He 
was,  however,  a  good  colouriet.  He  was  employed 
in  decorating  Milan  for  the  solemn  entry  of  Philip 
IV.  and  Maria  of  Austria.  He  etched  several  prints 
of  sacred  and  profane  subjects ;  these  are  some- 
times signed  Joan  Christ.  Storer,  sometimes  Giov. 
Christ.  Storer.  It  is  said  that  he  returned  to  his 
own  country,  and  died  in  his  native  city  in  1671. 
Several  of  his  pictures  have  been  engraved. 

STOKER,  Henry  Sargant,  draughtsman  and 
engraver,  was  the  son  of  James  Storer,  and  worked 
jointly  with  him  on  many  of  his  later  undertakings. 


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PAINTERS  AND  ENGRAVERS. 


He  lived  for  some  years  at  Cambridge,  but  died 
in  London,  January  8,  1837. 

STORER,  James,  engraver,  bom  at  Cambridge 
in  1781,  worked  at  drawing  and  engraving  old 
English  buildings  and  other  antiquarian  subjects. 
In  the  early  part  of  his  career  he  lived  at  Cam- 
bridge, but  afterwards  moved  to  London,  where 
he  spent  the  rest  of  his  life.  A  list  of  his  publica- 
tions is  append&d.  In  many  of  these  lie  was 
assisted  by  his  son,  Henry  Sargant.  He  died  in 
London  in  1853. 

J.  Storer  and  J.  Greig.    Cowper,  illustrated  by  a  series  of 
Views.     180;!. 
„  „  Views  iu  North  Britain,  illustra- 

tive of  Burns.     1805. 
„  „  Antiquarian   and  Topographical 

Cabinet.     1807-11. 
„  „  Select  Views  of  London  and  its 

Environs.     1804-5. 
„  „  The  Antiquarian  Itinerary.    1815 

—1818. 
J.  Storer.  A  description  of  Fonthill  Abbey. 

1812. 
„  Ancient  Eeliques.     1812-13. 

J.  and  H.  S.  Storer.  Cathedrals  of  Great  Britain. 

The  Portfolio.     1823-4 
„  CoUegiorum  Portse  apud  Canta- 

brigiam. 
„  Delineations  of  Fountains  Abbey. 

STORK,  Abraham,  or  Jan,  the  younger,  a  marine 
and  landscape  painter  of  the  18th  century.  It  is 
said  that  some  pictures  signed  A.  Stork  are  dated 
1742.  In  the  Rotterdam  Gallery  there  is  a  picture 
of  the  Old  Harbour,  Rotterdam,  by  him. 

STOSS,  Veit,  the  famous  Nuremberg  sculptor, 
was  also  an  engraver.  He  was  bom  in  1447.  It 
has  been  supposed  that  be  was  a  native  of  Cracow, 
but  the  greater  probability  seems  to  be  that  he  was 
born  in  Germany,  but  married  a  wife  from  Cracow. 
Between  1472  and  1495  be  was  more  or  less  at 
work  in  Cracow,  but  in  the  latter  year  he  seems  to 
have  settled  finally  at  Nuremberg.  There  he  lived 
a  more  or  less  disreputable  life,  and  died,  blind,  in 
the  Schwabach  hospital  in  1542,  aged  ninety-five. 
The  plates  ascribed  to  him  were  formerly  given  to 
a  mythical  Stolzen,  or  Stolzius,  while  some  writers, 
Christ  among  them,  call  him  Franz  Stoss.  The 
notion  that  he  was  the  master  of  Martin  Schon- 
gauer  is  inconsistent  with  dates.  Stoss  variously 
signed  his  baptismal  name  Vit,  Wyt,  Eit,  Fit,  and 
Fyt,  while  to  his  plates,  as  well  as  to  his  works  in 
sculpture,   he   attached   the   annexed   monogram : 

J'^&  •  ■^'^  twelve  plates  are  very  rare  ;  the  best 

of  them  are,  perhaps,  the  following  : 

The  Raising  of  Lazarus. 

The  Virgin  kissing  the  body  of  Christ  at  the  foot  of  the 

Cross.     {British  JIusejiDi.) 
The  Madonna  and  Child,  standing.     (Do.) 
The  Madonna  and  Child,  seated,  in  a  room.     (So.) 
The  Martyrdom  of  St.  Catherine  of  Alexandria.     {Do.) 
A  Gothic  Capital.     (Do.) 

STOTHARD,  Charles  Alfred,  antiquarian 
draughtsman,  painter,  and  illuminator,  was  the  son 
of  Thomas  Stothard,  and  born  in  London  in  1786. 
After  receiving  a  liberal  education,  he  became  a 
student  in  the  Royal  Academy,  where  he  showed 
great  talent  in  drawing  from  the  antique.  His 
father  being  engaged  to  paint  the  staircase  at  Bur- 
leigh House,  he  accompanied  him  thither  from 
time  to  time,  and  made  drawings  of  the  antiquities 
of  that  locality.  This  awakened  in  him  a  predi- 
lection for  a  pursuit  in  which  he  became  eminent, 
but  which  eventually  cost  him  his  life.     In  1811 


he  exhibited  a  '  Murder  of  Richard  II.  at  Pontefract 
Castle,'  in  which  the  portrait  of  the  king  was 
painted  from  his  efiigy  in  Westminster  Abbey. 
His  next  undertaking  was  '  The  Monumental  Effi- 
gies of  Great  Britain,'  selected  from  the  cathedrals 
and  churches,  and  etched  throughout  by  himself 
with  remarkable  delicacy  and  fidelity.  In  1816 
he  was  deputed  by  the  Society  of  Antiquaries  to 
make  drawings  from  the  Bayeux  Tapestries.  While 
engaged  on  this  work  he  visited  the  Abbey  of  Fon- 
tevraud,  where  he  discovered  the  effigies  of  the 
riantagenets,  the  continued  existence  of  which  had 
been  doubted  since  the  revolution.  These  were 
added  to  his  work.  His  last  undertaking  was  the 
illustration  of  'Devonshire,'  in  Lysons's  'Magna 
Britannia.'  For  that  purpose  he  began  some  trac- 
ings of  the  stained  glass  window  in  the  church  at 
Bere  Ferrers,  where,  on  May  27th,  1821,  he  slipped 
from  the  ladder  on  which  he  stood,  and  was  killed 
on  the  spot.  His  wife,  afterwards  Mrs.  Bray, 
published  an  account  of  their  tour  through  North- 
em  France,  which  was  illustrated  with  twenty-one 
plates  from  designs  by  her  husband. 

STOTHARD,  Thomas,  painter,  was  bom  in 
London  (at  the  "  Black  Horse,"  in  Long  Acre)  in 
1755.  His  father,  a  publican,  died  when  he  was 
only  five  years  old,  and  he  was  left  to  the  care  of 
some  relations,  who  placed  him  in  a  school  at 
Stretton,  near  Tadcaster,  his  father's  birthplace, 
where  he  remained  till  he  was  of  an  age  to  be  ap- 
prenticed. Having  shown  an  inclination  for  draw- 
ing, by  copying  some  of  Houbraken's  heads,  his 
friends  placed  him  with  a  designer  of  patterns  for 
silks.  The  trade  decliuing,  and  his  master  dying 
before  the  expiration  of  his  term,  he  was  left 
to  his  own  resources.  Having,  however,  minutely 
studied  nature  in  the  drawing  of  flowers  and 
other  ornaments,  he  at  once  struck  out  a  profitable 
profession  for  himself  by  making  drawings  for  the 
'Town  and  Country  Magazine.'  This  made  him 
known,  and  he  was  soon  employed  on  other  pub- 
lications, particularly  Bell's  edition  of  the  British 
Poets,  and  Harrison's  '  Novelist's  Magazine.'  These 
designs  attracted  the  notice  of  Flaxman,  and  a 
friendship  commenced  between  the  two  artists 
which  was  of  advantage  to  both.  Stothard  then 
became  a  student  of  the  Royal  Academy,  and  in 
1778  exhibited  an  'Ajax  defending  the  dead  Body 
of  Patroclus.'  He  was  made  an  associate  of  the 
Royal  Academy  in  1785,  an  academician  in  1794, 
deputy  librarian  iu  1810,  and  librarian  in  1812.  It 
is  said  that  Stothard  made  upwards  of  five  thousand 
designs  for  books,  three  thousand  of  which  were 
used.  Among  the  more  important  series  and  single 
designs  may  be  enumerated  those  for  Boydell's 
'Shakespeare,'  'Rogers'  Poems,'  'The  Canterbury 
Pilgrims,'  the  '  Ceremony  of  the  Dunmow  Flitch,' 
and  the  '  Wellington  Shield.'  He  painted  the  stair- 
case at  Burleigh  House,  and  the  ceiling  of  the 
Advocates'  Library  at  Edinburgh.  It  is  said  that 
he  gave  the  preference,  before  all  his  other  works, 
to  fifteen  small  pictures  from  Bunyan's  'Pilgrim's 
Progress.'  He  furnished  countless  designs  for 
goldsmiths,  and  the  origin  of  many  well-known 
pieces  of  English  sculpture  may  be  traced  to  him. 
About  1784  Stothard  married,  and  in  1793  bought 
the  house  in  Newman  Street  (No.  28),  in  which  he 
spent  the  rest  of  his  life.  He  died  on  the  27th  of 
April,  1834,  and  was  buried  in  Bunhill  Fields. 
There  are  portraits  of  him  by  Harlowe,  Jackson, 
and  Wood,  and  a  bust  in  marble  bj'  Baily.  His 
biography  has  been  written  by  Mrs.  Bray.    Works: 

133 


A   BIOGRAPHICAL   DICTIONARY  OF 


London.      National  Gall.     The  Greek  Vintage. 

II  „  Intemperance.  (Sketch forthe 

picture  at  Burleigh.) 
)»  „  Fdte  Champ&tre. 

n  „  The  Canterbury  Pilgrims. 

{And  six  others.) 
„  S.Kensington.     Characters  from  Shake.speare. 

„  Twelfth  Night. 

.)  „  Brunetta  and  Phillis. 

»»  M  Sancho  and  the  Duchess. 

[And  six  others.) 

^i'OTT,  William,  who  in  later  years  adopted 
the  sobririuet  "  of  Oldham  "  to  distinguish  liim.self 
from  a  felluvv-artist  of  a  similar  name,  was  born 
in  that  city  in  1858,  and  died  suddenly  at  sea 
on  February  25,  1900,  in  tlie  course  of  a  voyage 
undertaken  for  the  benefit  of  his  health,  which  had 
long  been  failing.  After  studying  drawing  iu 
England  he  went  to  Paris  in  1879  and  entered  the 
studio  of  Geiome,  where  he  worked  at  painting 
with  such  energy  and  success  that  only  two  years 
later  a  picture  vi'  his,  '  Le  Passeiir,'  was  accepted  at 
the  Salon,  while  in  the  following  year  his  canvas 
representing  boys  bathing  from  a  punt,  entitled 
'La  Baignade,'  was  awarded  a  medal.  After  leaving 
Paris  he  resided  for  a  time  at  Grez  on  the  Loing, 
not  far  from  Fontainebleau,  but  finally  established 
himself  in  London.  Much  of  his  time  was  given 
up  to  landscape  work,  in  which,  especially  in  the 
treatment  of  mountain  scenery,  he  was  eminently 
successful,  but  he  also  painted  some  portraits,  and  a 
considerable  number  of  imaginative  figure-subjects, 
such  as  '  Venus,'  'The  Nympli,'  'Diana,  Twilight, 
and  Dawn,'  '  Faerie  Wood,' '  The  awakening  of  the 
Spirit  of  the  Rose,'  &c.  In  all  his  work  a  profound 
sense  of  beauty  and  a  delicate  poetical  feeling  were 
conspicuous,  while  technically  it  embodied  all  that 
was  freshest  and  soundest  in  the  Parisian  school  of 
which  he  was  so  distinguished  a  pupil.  jp.p 

STOTTKUP,  Andreas,  portrait  painter  and  en- 
graver, born  at  Hamburg  in  1754,  studied  from 
1771-74  at  the  Academy  at  Copenhagen,  and  after- 
wards settled  at  Hamburg.  He  died  in  1812. 
His  son,  Christian  Georg,  was  also  an  engraver 
at  Altona. 

STOVESANDT,  Priedrich  Adolph,  landscape 
painter,  was  born  at  Dantzic  in  1808,  and  studied 
first  in  his  native  city,  then  at  Berlin  under 
Gropius,  and  afterwards  at  the  Vienna  Academy. 
He  died  at  Uantzic  in  1838. 

STOW,  James,  line-engraver,  and  the  son  of  a 
labourer,  vpas  born  near  Maidstone  about  1770. 
In  his  boyhood  he  showed  such  an  aptitude  for  art, 
that  some  of  the  gentry  in  the  neighbourhood 
raised  a  subscription  and  apprenticed  him  to 
Woollett.  On  the  death  of  his  master  he  was  trans- 
ferred to  William  Sharp,  with  whom  he  remained 
as  assistant  after  his  term  of  apprenticeship  had 
expired.  He  was  highly  thought  of  in  the  early 
part  of  his  career,  and  employed  on  many  import- 
ant works,  but  he  seems  to  have  been  wanting  in 
steadiness  and  application.  He  fell  into  dissipated 
habits,  and  on  his  death  left  a  family  in  poverty. 
His  most  important  works  are  : 

Eight  plates  for  Boydell's  '  Shake.speare.'     1795—1801. 
Twelve  plates  for  Du  Eoveray's  '  Homer.'     18U6. 
Gainsborough's  '  Boy  at  the  Stile.' 
Plates  for  '  Londina  lUustrata.'     1811-23. 

STRAATEN,  Jan  Joseph  Ignatius  van,  a  painter 
of  dead  game  and  flowers,  was  born  at  Lftrecht  in 
1766,  and  was  a  scholar  of  C.  van  Geelen.  His 
pictures  are  in  the  style  of  J.  Weenix,  well  com- 
posed and  highly  finished.     In  his  landscapes  he 


was  assisted  by  his  countryman,  Swagers.  He 
died  in  1808.  One  Bruno  van  Straaten,  born  at 
Utrecht  in  1786,  may  have  been  of  the  same  family. 
There  is  a  picture  by  him  in  the  Rotterdam  Gallery. 

STRAATEN,  Van,  (or  VERSTRAETEN,)  Lam- 
bert, sometimes  called  De  la  Rue,  was  born  at 
Haarlem  in  1631.  He  was  a  painter  of  portraits 
and  historical  subjects,  and  also  kept  a  school.  He 
died  in  1712.  His  son  Hendrik,  born  about  1665 
at  Haarlem,  was  a  landscape  painter,  and  became 
a  member  of  the  Guild  of  St.  Luke  in  his  native 
town  in  1687.  He  came  to  England  in  1690,  and 
there  practised  with  some  success,  painting  land- 
scape somewhat  in  the  style  of  Ruysdael.  (See 
Walpole,  vol.  ii.  p.  235.) 

STRACK,  Anton  Wilhelm,  born  at  Hayna,  in 
Hesse,  in  1758,  was  the  son  of  a  baker,  and  grandson 
of  Joseph  Heinrich  Tischbein.  He  studied  under 
Johann  Anton  Tischbein,  and  became  professor 
and  court  painter  in  Biickeburg.  He  painted  a 
series  of  Westphalian  landscapes,  which  were  after- 
wards engraved. 

STRACK,  LuDWiG  Philipp,  painter,  born  at 
Hayna,  in  Hesse,  in  1761,  received  his  art  education 
at  Cassel.  In  1783  the  Duke  of  Oldenburg  took 
him  into  his  employment,  but  in  1786  he  returned 
to  Cassel,  where  he  painted  portraits  and  landscapes, 
becoming  court  painter  to  the  Duke  of  Hesse.  lie 
died  at  Oldenburg  in  1836. 

STRADA,  Jacopo,  a  Milanese  draughtsman,  who 
flourished  about  the  middle  of  the  16th  century, 
was  chiefly  employed  in  making  designs  for  new 
coins  and  medals,  and  in  drawing  from  old  ones. 
The  Libraries  of  Vienna  and  Gotha  have  many 
volumes  of  such  drawings.  He  also  drew  a  series 
of  portraits  of  the  emperors  for  a  work  published 
by  his  son. 

STRADA,  Vespasiano,  a  native  of  Rome,  but 
of  Spanish  parentage,  learned  the  rudiments  of 
the  art  from  bis  father,  an  obscure  painter.  He 
worked  chiefly  in  fresco  in  the  churches  and  public 
buildings  of  Rome.  He  died  at  Rome,  still  young, 
in  1624.  We  have  several  etchings  by  Strada  from 
his  own  compositions,  which  prove  him  to  have 
been  a  man  of  considerable  talent.  He  usually 
marked  his  plates  with  the  initials  V.  S.  F.,  or 
V.  S.  I.  F.,  and  sometimes  VES.  ST,  I.  FE.  The 
following  prints  may  be  mentioned  : 

Christ  shown  to  the  Jews  (or  little  Ecce  Homo). 
Christ  crowned  with  Thorns  (or  great  Ecce  Homo). 
The  Holy  Family,  with  St.  John. 
The  Virgin,  supported  by  two  Angels. 
The  Marriage  of  St.  Catherine. 
The  Virgin  and  Infant  Christ. 

STRADANUS,  Johannes,  or  Giovanni  della 
Strada.     See  Van  der  Straet. 

STRAELY,  Eduard,  was  born  at  Diisseldorf  in 
1720.  He  came  to  London  while  still  young,  and 
adopted  the  English  manner  of  miniature  painting, 
and  later  visited  Italy.  At  the  time  of  the  Em- 
peror Paul's  coronation  he  went  to  Moscow,  and 
remained  for  some  years  in  Russia.  On  the  acces- 
sion of  Alexander  he  left  St.  Petersburg,  and  re- 
turned to  London,  settling  finally  in  Vienna.  His 
later  works  were  chiefly  portraits,  but  in  Russia 
there  are  by  him  four  scenes  from  the  life  of  Peter 
the  Great,  painted  on  copper,  and  a  '  Hebe  feeding 
the  Eagle.' 

STRAMOT,  Nicholas,  a  Flemish  painter,  practis- 
ing at  Antwerp  about  1693.  In  the  church  of  St. 
Gertrude,  at  Louvain,  there  is  a  large  picture  by 


PAINTEBS  AND  ENQKAVEBS. 


him  containing  numerous  figures,  probably  por- 
traits, and  in  the  Antwerp  Museum  a  portrait  of 
Frans  van  Steerbeeck. 

STRANGE,  Henry  Le.    See  Le  Strange,  H. 

STRANGE,  Sir  Robert,  engraver,  born  in 
Pomona,  Orkney,  in  1721,  was  descended  from  a 
cadet  of  the  Strange  family  of  Balcasky,  Fife, 
who  settled  in  Orkney  at  the  time  of  the  Reform- 
ation. He  was  originally  intended  for  the  law,  but 
some  of  his  drawings  having  been  shown  to  one 
Cowper,  a  drawing-master  at  Edinburgh,  were  so 
highly  approved  by  him,  that  the  young  man  was 
placed  under  his  tuition.  He  had  made  consider- 
able progress  under  Cowper's  instruction,  when 
civil  war  broke  out  on  the  arrival  of  the  young 
Chevalier.  He  joined  the  Jacobites,  and  was  named 
engraver  to  the  Prince,  whose  portrait,  with  those 
of  many  of  his  officers,  he  drew  in  pencil  and  en- 
graved. After  Culloden,  where  he  is  said  to  have 
fought  in  the  ranks,  he  escaped  to  France.  As 
soon  as  peace  was  restored,  Strange  came  to  London, 
but  soon  afterwards  revisited  Paris.  On  his  way 
he  made  some  stay  at  Rouen,  where  he  frequented 
the  Academy,  and  obtained  a  prize  for  design, 
though  his  competitors  were  numerous.  On  his 
arrival  in  Paris  he  became  a  pupil  of  Le  Bas. 
In  1751  he  returned  to  London,  at  a  period  when 
historical  engraving  had  made  little  progress  in 
England,  and  became  the  father  of  that  arduous 
and  difficult  branch  of  the  art  in  this  country.  In 
1761  Strange  went  to  Italy,  where  he  made  draw- 
ings from  many  then  celebrated  pictures,  some  of 
which  he  engraved  abroad,  others  after  his  return 
to  England.  In  the  course  of  his  tour  he  was 
elected  a  member  of  the  academies  of  Rome, 
Florence,  Bologna,  Parma,  and  Paris.  In  1787  he 
received  the  honour  of  knighthood.  He  died  in 
London  in  1792.  Sir  Robert  Strange  engraved 
about  eighty  plates.  His  style  shows  a  combina- 
tion of  purity,  breadth,  and  vigour  which  has 
scarcely  been  equalled.  In  colour,  however,  his 
prints  are  somewhat  deficient.  The  following  are 
among  the  best : 

Charles  I.;  after  X'andych.  1770. 
Charles  I. ;  after  the  same.  17S2. 
Henrietta  Maria,  Queen  of  Charles  I.,  with  the  Prince 

of  Wales  and  Duke  of  York  ;  after  the  same.     1784. 
The  Children  of  Charles  I. ;  after  the  same.     1758. 
A  Bust  of  Raphael;  after  a  picture  by  himself ;    in- 
scribed Ille  hie  est  Raphael,  ^-c.     1787. 
A  Portrait-of  himself;  from  a  drawing  by  J.  B.  Greuze. 
The   Return    from    Market;    after  Fh.    Wouvoermatis. 

Engraved  in  Paris  in  1750. 
St.  Cecilia  ;  after  Raphael. 
The  Virgin  and  Infant  Christ,  with  Mary  Magdalene, 

St.  Jerome,  and  two  Angels ;  after  Correc/yio. 
Venus  reclining;  after  Titian. 
Danae  ;  after  the  same.     1768. 
Venus  and  Adonis  ;  after  the  same.     1762. 
Mary  Magdalene,  penitent ;  after  Guido.     1762. 
The  Death  of  Cleopatra  ;  after  the  same.     1777. 
Fortune  ;  after  the  same.     1778. 
Venus  attired  by  the  Graces  ;  after  the  same.     1759. 
The  Chastity  of  Joseph  ;  after  the  same.     1769. 
The  Virgin,  with  a  choir  of  Angels ;   after  C.  Maratti. 

1760? 
The  Virgin,  St.  Catherine  and  Angels,  witi  the  Infant 

Jesus  asleep  ;  after  the  same.     1760? 
Christ  appearing  to  the  Virgin  after  His  Resurrection ; 

after  Guercirw.     1773. 
Abraham  sending  away  Hagar ;  after  the  same.     1763 

and  1767. 
Esther  before  Ahasuerus  ;  after  the  same.     1767. 
The  Death  of  Dido  ;  after  the  same.     1776. 
Belisarius  ;  after  'Sal.  Rosa.     1757. 
Romulus  and  Remus  ;  after  P.  da  Coriona.     1757. 


Caesar  repudiating  Pompeia;  after  the  same.     1757? 

Sappho  devoting  her  Lyre  to  ApoUo  ;  afttr  Dolci.    1787. 

The  Martyrdom  of  St.  Agues  ;  after  Domenichino.  1759. 

The  Choice  of  Hercules  ;  after  iV.  Ponssin.     1759. 

The  Holy  Virgin  ;  after  Ouido.     1756? 

The  Angel  of  the  Annunciation  ;  after  the  same.   1756  ? 

The  Annunciation  ;  after  the  same.     1787? 

The  Oifspring  of  Love  ;  after  the  same.     1766  ? 

The  Infant  Jesus  plaiting  a  Crown  of  Thorns ;  after 
Srurillo.    1787  ? 

The  Infant  Jesus  asleep  ;  after  Vandyck.     1787  ? 

St.  Agnes  ;  after  Domenichino.     1759  ? 

The  Magdalene  ;  after  Guido.     1753. 

The  Magdalene  ;  after  Correggio.     1780. 

Laomedon,  King  of  Troy,  detected  by  Neptune  and 
Apollo  ;  after  Salvator  Rosa.     1775. 

The  finding  of  Romulus  and  Remus ;  after  P.  da 
Cortona.     1757  ? 

The  Death  of  Cleopatra ;  after  Guido.    1753. 

Apollo  rewarding  Merit ;  after  A.  Sacchi.     1755. 

Venus  blinding  Cupid  ;  after  Titian.     1769. 

Cupid  sleeping  ;  after  Guido.     1766? 

Cupid  ;  after  Schidone.     1774. 

Cupid;  after  Vanloo.     1750. 

Lips,  the  south-west  Wind. 

Zephyr,  the  west  Wind.  1760.  Plates  17  and  18  in 
the  first  volume  of  *  The  Antiquities  of  Athens,' by 
Stuart. 

The  Death  of  the  Stag.  1749.  A  vignette  to  Beck- 
ford's  'Thoughts  on  Hunting.' 

Half-length  of  Charles  I. ;  after  Van  Dyek.  This,  and 
Nos.  52,  56,  57,  and  58,  were  engraved  for  the  first 
edition  of  Smollett's  '  History  of  England,'  in  quarto, 
published  in  1757. 

The  Apotheosis  of  Octavius  and  Alfred,  Children  of 
George  HI.,  who  died  in  their  infancy  ;  after  Benja- 
min West. 

Prince  Charles  James  Edward  Stuart. 

Mary  Stuart,  Queen  of  Scotland. 

The  Mistress  of  Parmigiano ;  after  Parmigiano.     1774. 

James  Graham,  Marquis  of  Montrose  ;  afur  Van  Dyek. 

Thomas  Wentworth,  Earl  of  Strafford ;  after  the  same. 

Thomas  Cromwell,  Earl  of  Essex  ;  after  Holhein. 
William  Hamilton,  of  Bangor,  a  Poet.     1760.    lu  his 
'Poems.' 

Robert  Leighton,  Archbishop  of  Glasgow.  1758.  In  a 
selection  from  his  works. 

Archibald  Pitcairu,  Physician  and  Poet ;  after  Medina. 

Strange  published  '  A  Descriptive  Catalogue  of  a 
Collection  of  Pictures,  and  of  thirty-two  Drawings, 
collected  by  him  in  Italy.'  Also  'An  Inquiry  into 
the  Rise  and  Establishment  of  the  Royal  Academy 
of  Arts  ;  to  which  is  prefixed  a  letter  to  the  Earl  of 
Bute.'  The  '  Memoirs  of  Sir  Robert  Strange  and 
of  Andrew  Lumisden '  were  published  in  1855. 
Lumisden  was  the  brother  of  Strange's  wife,  who 
came  of  an  old  .lacobite  family. 

STRASSBERGER,Christoph  Gotthelf,  painter 
and  engraver,  was  born  at  Frauenstein,  in  the 
mountains  of  Saxony,  in  1770,  and  destined  by  his 
parents  for  the  Church.  With  this  view  he  entered 
the  University  of  Leipsic,  but  left  it  for  the  art 
school  under  Oeser.  He  painted  portraits  in 
crayons  and  on  porcelain,  and  engraved  a  few 
plates.  From  1816  onwards  was  chiefly  engaged 
in  teaching.     He  died  in  1841. 

STRASSBERGER,  Ebnst  Wilhelm,  painter,  the 
son  of  Christ.  G.  Strassberger,  was  born  at  Leip- 
sic in  1796.  He  studied  first  under  his  father,  and 
at  the  Leipsic  Academy  under  Berggold,  Schnorr, 
and  Siegel.  He  first  exhibited  in  1814,  but 
in  1815  went  to  Dresden,  where  he  studied  for  a 
time  at  the  Academy,  and  in  1823  he  was  engaged 
at  the  Meissen  china  factory.  In  1842  he  returned 
to  his  native  city,  and  employed  himself  chiefly  in 
painting  incidents  in  the  battle  of  Leipsic,  of  which 
he  had  been  an  eye-witness.  He  also  worked  as 
a  scene-painter,  to  which  calling  he  brought  up 

135 


A   BIOGRAPHICAL   DICTIONARY   OF 


liig  son.  lie  died  at  Leipsic,  September  11th, 
1806. 

STRASTER,  Fray  Gekonimo,  a  Franciscan,  who 
resided  at  the  convent  of  his  order  in  Valladolid,  in 
1G13,  where  he  engraved,  witli  considerable  ability, 
the  plates  to  a  work  entitled  '  llistoriu  del  Monte 
Celia  de  nuestra  Senora  de  la  Saloeda,'  written  by 
D.  Pr.  Pedro  Gonznlez  de  Mendoza,  archbishop  of 
Granada. 

STRATEN.     See  Van  deb  Straten. 

STRAUBE,  A.,  painter,  born  about  the  middle 
of  the  17th  century  in  Hamburg,  painted  land- 
scapes with  animals  and  figures  in  the  style  of 
Pynaker. 

STRAUCH,  Georg,  painter,  born  at  Nuremberg 
in  1613.  In  the  Gallery  at  Vienna  there  is  an  '  Im- 
maculate Conception '  by  him,  and  in  the  Gallery 
of  the  Patriotic  Union  at  Prague  two  portraits.  He 
died  in  1G75. 

STRAUCH,  LoRENz,  bom  at  Nuremberg  in  1554, 
was  a  skilful  portrait  and  architectural  painter,  and 
also  painted  on  glass.  Bartsch,  P.  G.  torn,  is.,  de- 
scribes an  etching  by  him,  a  '  View  of  the  Market- 
place at  Nuremberg,'  with  the  date  1599,  as  the 
only  one  known  to  him.  Nagler,  however,  gives 
a  list  of  twenty-two,  some  of  which  are  signed 
with  his  name  in  full,  and  dated  as  late  as  1614  ; 

others  with  the  monogram    X,  ,       Strauch   died 

about  1630. 

STRAVIUS,  a  painter  of  Hamburg  in  the  17th 
century,  who  painted  life-size  animals  and  hunting 
landscapes. 

STREATER,  Robert,  an  English  painter,  born 
in  London  in  1624,  was  a  scholar  of  Du  Moulin. 
He  painted  history,  portraits,  landscape,  architec- 
ture, and  still-life.  At  the  Restoration  he  was 
appointed  serjeant-painter  to  Charles  II.  His 
pnncipal  works  were :  the  theatre  ceiling  at  Oxford  ; 
some  ceilings  at  Whitehall,  which  have  perished  ; 
the  '  Battle  of  the  Giants,'  at  Marden  Park,  Surrey; 
and  the  pictures  of  Moses  and  Aaron,  in  the  church 
of  St.  Michael,  Cornhill.  There  is  a  landscape  by 
him  in  the  Cartwrigbt  Collection  at  Dulwich.  He 
died  in  1680.     He  left  a  few  indifferent  etchings. 

STREATFEILD,  Thomas,  a  topographical 
artist,  born  in  1777  in  London.  He  was  a 
clergyman,  and  for  a  while  chaplain  to  the  Uuke 
of  Kent,  but  he  is  best  known  by  reason  of  the 
elaborate  collections  he  made  in  preparation  fur 
the  History  of  Kent.  He  was  through  his  wife  a 
man  of  considerable  means,  and  he  devoted  many 
years  to  collecting  everything  he  could  lay  hands 
upon  relating  to  the  county  in  which  he  lived,  tlie 
result  filling  over  fifty  volumes,  now  in  the  British 
Museum.  Hesketclied  many  old  buildings,  copied 
coats-of-arms,  tombs  and  carvings,  and  did  every- 
thing in  his  power  to  preserve  records  of  the 
beauties  of  the  county,  especially  those  of  archajo- 
logical  interest.  He  prepared  a  prospectus  for  his 
liistory,  and  he  wrote  two  short  essays  in  connec- 
tion with  it,  but  he  never  produced  the  book,  and 
died  on  May  17,  1848,  at  Westerham,  in  the  house 
he  had  built  from  his  own  plans  and  designs. 

STRECKER,  Wilhelm,  painter,  born  in  1795, 
painted  history  and  scenes  from  poets.  He  was 
Inspector  of  the  Gallery  at  Stuttgart,  where  he 
died  in  1857. 

STREEK,  Hendrik  van,  son  of  Jurriaan  van 
Streek,  born  at  Amsterdam  in  1659,  was  a  scholar 
of  his  father,  Emanuel  de  Witte.  His  pictures 
generally  represent  the  interior  of  churches  and 

136 


palaces,  and  are  frequently  embellished  with  figures 
by  some  other  artist.  The  Hermitage  at  St. 
Petersburg  has  an  'Interior  of  a  Church'  by  him. 
He  died  in  1713. 

STREEK,  Jurriaan  vak,  born  at  Amsterdam  in 
1632,  occasionally  painted  portraits,  but  is  better 
known  as  a  painter  of  still  life.  A  skull,  a  ball  of 
soap,  and  a  lamp  are  frequent  objects  in  his  com- 
positions. He  signed  his  pictures  with  J  V  S  in  a 
monogram.     He  died  in  1678. 

STRfiSOR,  Anne  Marie  Ren^e,  the  daughter  of 
Henri  Str^sor,  was  born  in  Paris  in  1651.  A 
miniature  painter  of  some  reputation,  she  was  re- 
ceived by  the  Academy  about  1676,  but  in  1687 
resolved  to  become  a  nun.  The  convent  of  the 
Visitation  at  Paris  agreed  to  receive  her  without 
a  dowry,  on  condition  that  she  learnt  to  paint  in 
oils,  for  the  benefit  of  the  sisterhood.  This  she 
did,  and  produced  a  great  number  of  works  after 
her  admission.     She  died  in  1713. 

STR^SOR,  Henri,  a  portrait  painter  of  the  17th 
century,  mentioned  by  Marolles.  He  was  a  Ger- 
man by  birth,  but  settled  in  Paris  and  embraced 
the  Roman  Catholic  faith.  He  painted  portraits  of 
Louis  XIV.  and  many  persons  of  distinction.  He 
died  about  1672. 

STRETES,  GniLLlJl,  was  painter  to  Edward  VI. 
in  1551.  Strype  records  that  the  King  paid 
''  fifty  marks  for  recompense  of  three  great  tables 
made  by  the  said  Guillim,  whereof  two  were  the 
pictures  of  His  Highness  sent  to  Sir  Thomas  Hoby 
and  Sir  John  Mason  (ambassadors  abroad)  ;  the 
third  a  picture  of  the  late  Earl  of  Surrey,  attainted, 
and  by  the  Council's  commandant  fetched  from  the 
said  Guillim's  house."  The  last-named  picture  was 
discovered  by  Horace  Walpole  to  be  identical  with 
one  in  his  father's  collection,  which  Sir  Robert 
bouirlit  at  the  sale  of  the  Arundel  collection  at 
Stafford  House,  in  1720,  and  presented  to  the  Duke 
of  Norfolk.  The  picture,  dated  1547,  is  now  at 
Arundel  Castle.  A  half-length  at  Knole  is  a  copy 
from  it.  An  excellent  portrait  of  Edward  VI.,  by 
Stretes,  is  in  the  National  Portrait  Gallery.  He 
also  painted  some  miniatures. 

STRIEBEL,  Franz  Xaver,  painter,  born  at 
Mindelheim  in  1822,  studied  at  the  Munich  Aca- 
demy, and  painted  first  history,  and  afterwards 
genre  pictures  of  a  humorous  kind.  He  died  at 
.Munich  in  1871. 

STRIGEL,  Bernhard,  belonged  to  a  family  of 
painters  at  Memmingen.  Hans  Strigel  is  traceable 
in  1433,  and  painted  an  altar-piece  in  1442  ;  his 
son  Ivo  was  also  a  painter,  and  a  large  altar-piece 
which  he  furnished  for  the  Church  of  S.  Maria  Val 
Calanca  in  1512  at  the  age  of  81,  is  now  at  Basle. 
Bernhard,  the  most  distinguished  member  of  the 
family,  was  probably  a  son  of  Ivo,  and  was  born 
in  1460  or  1461.  Towards  1480  he  went  to  Ulm, 
where  he  was  for  some  time  in  the  workshop  of 
Zeitblom,  and  was  employed  as  his  assistant. 
Later,  when  at  Augsburg,  he  appears  to  have  had 
some  connection  with  Hans  Burckmair,  who  was, 
however,  his  junior  by  thirteen  years.  He  is 
known  to  have  been  living  at  Memmingen  in  1506, 
but  probably  had  already  settled  there  as  early  as 
1483.  He  was  at  Augsburg  in  1517,  and  at 
Vienna  between  1520  and  1525,  and  died  at  Mem- 
mingen in  1528.  In  all  these  places  he  executed 
numerous  works,  and  was  much  employed  by  the 
Emperor  Maximilian,  whom  he  several  times  por- 
trayed, and  by  whom  he  was  ennobled.  He  was 
formerly  designated  the  "Master  of  the  Hirscher 


PAINTERS  AND    ENGRAVERS. 


Collection,"  from  certain  pictures  formerly  the 
property  of  Canon  Hirscher  at  Freiburg,  until  his 
name  was  discovered,  together  with  along  inscrip- 
tion referring  to  him,  on  the  back  of  one  of  his 
pictures  in  tlie  depot  of  the  Gallery  at  Berlin 
which  led  to  his  identification  and  to  the  discovery 
of  a  great  number  of  documentary  notices  relating 
to  him  in  the  archives  of  Memmingen.  As  a 
portrait  painter  he  did  some  admirable  work,  and 
in  some  of  his  masterpieces  at  Munich,  Donaue- 
schingen  and  elsewhere,  the  breadth  and  freedom 
of  conception  and  execution  seem  to  pre-suppose 
an  acquaintance  with  the  methods  of  Venetian 
portrait  painters.  His  works  were  formerly  at- 
tributed to  Holbein  (father  and  son),  to  Schiilein, 
Schongauer,  Amberger,and  many  others.  Herr  R. 
Visscher,  who  made  many  important  discoveries 
about  Strigel,  considers  that  he  was  also  a  fresco 
painter,  and  ascribes  to  him  five  of  the  wall- 
paintings  in  the  cloisters  of  the  great  Franciscan 
Church  at  Schwaz,  near  Innsbruck,  dated  1521, 
and  other  works  in  that  neighbourhood.  Among 
the  principal  paintings  unanimously  attributed  to 
Bernhard  Strigel  are  the  following : 

Berlin.  Gallery.     Four  panels  of  Saints ;  wings 

of  an  altar-piece.    Formerly 
ascribed  to  Holbein. 
„  „  St.  Norbert  with  a  Praemon- 

.stratcnsian    monk    and  St. 
Agnes.      Formerly  as   Hol- 
bein. 
,,  „  The  History  of  the  Madonna ; 

wings  of  an  altar-piece  dated 
1.515.     All  formerly  in  the 
Hirscher  Collection. 
„  „  Portrait  of  Johannes  Cuspinian 

and  hia  Family.  This  work, 
formerly  in  the  Solly  Col- 
lection, has  on  the  back  an 
inscription  containing  tlio 
name  of  the  painter,  the  date 
15"20,  and  mucli  information 
relating  to  him. 

Donaueschingen.  1  Portrait  of  Count  John  II.  von 

Fiirstenberg  Coll.  J      Montfort  zuTettnang;  dated 

1.520.    Formerly  ascribed  a.s 

''  Closely  related  to  Holbein . " 

Memmingen.       Gallery.     L:irge altar-piece; early.  Mucli 
damaged  in  parts. 

Munich.  Gallery.     Five  panels  of  an  altar-piece 

with  St.  Servatius  and  the 
Kindred  of  Our  Lady.     The 
remaining     panels     are     at 
Niiremberg. 
„  „  Portraits  of  Konrad  Eelinger 

and  his  eight  cbildren  ;  dated 
1517.       One     of     his     best 
works. 
„  „  Portrait  of  Herr  Haller.     For- 

merly ascribed    to    Barbarj 
and  Hans  Asper. 
„  Kat.  Museum.     Baptism    of    Clirist    and    St. 

John  the  Evangelist ;  wings 
of  an  altar-piece. 

Nuremberg.        German-  }  Six  panels  of   an  altar-piece ; 
ischcs  Museum,  j      the   remainder  at  Munich  ; 
the  Madonna  here  is  one  of 
his  best  works. 

Vienna.  Gallery.     The  Emperor  Blaximilian  and 

his  family  ;    on  the  reverse 
the  Kindred  of  Our  Lady 
Formerly  ascribed  to  Griiue- 
wald. 
,,     Liechtenstein  Gall.     Portraits  of  a  Man  and  Woman. 

Other  works  at  Cassel,  Innsbruck,  Karlsruhe, 
Niiremberg,  Schwerin,  Sigmaringen,  Stuttgart, 
Vienna  (private  collections),  and  elsewhere. 

C.  J.  Ff. 


STRIJ,  Abraham  van,  a  painter  of  portraits,  land- 
scapes and  cattle,  and  familiar  subjects,  was  born 
at  Dordrecht  the  31st  of  December,  1753.  He 
studied  under  his  father,  a  decorator,  and  at  first 
painted  fruit  and  flowers,  but  was  obliged  to  assist 
his  father  in  historical  subjects,  landscapes,  and 
feigned  bas-reliefs.  He  afterwards  turned  to  the 
painting  of  portraits,  landscapes,  and  cattle,  in  the 
manner  of  Cuyp,  and  the  interiors  of  shops  and 
kitchens.  In  such  subjects  he  arrived  at  much 
excellence,  especially  in  chiaroscuro.  In  1774  he 
founded  the  'Pictura'  Society  of  Dordrecht,  and 
was  its  first  president.  He  died  at  Dordrecht  the 
7thof  March,  1826.     Works: 


Amsterdam.  R.  Museum. 


Rotterdam. 


MuS' 


The  Drawing  Lesson. 
The  Housekeeper. 
The  Scullery-maid. 
Two  pictures. 


STRIJ,  Jakob  van,  landscape  and  cattle  painter 
and  brother  of  Abraham  van  Strij,  was  born  at 
Dordrecht  the  2nd  of  October,  1756.  He  studied 
at  home,  under  his  father,  and  at  Antwerp,  under 
Andrew  Lens,  and  also  at  the  Antwerp  Academy. 
Though  a  sincere  student  of  nature,  he  had  a  great 
predilection  for  copying  and  imitating  the  works 
of  other  masters.  Cuyp,  Hobbema,  and  Paul 
Potter  were  the  models  he  most  affected,  particu- 
larly Cuyp,  and  many  of  his  imitations  of  that 
master  have  passed  as  originals.  Some  of  his 
'Hobbemas '  are  also  masterly;  but  they  are  not 
so  common  as  his  '  Cuyps.'  He  was  a  corre- 
sponding member  of  the  Royal  Institute  of  the 
Netherlands,  and  is  eulogized  by  contemporary 
writers  for  his  general  knowledge.  He  died  at 
Dordrecht,  February  4th,  1815.     Works : 

Amsterdam,     i?.  Museum.     Four  landscapes. 

STRINGA,  Feedinando,  engraved  some  of  the 
plates  for  the  'Antiquities  of  Herculaneum,'  pub- 
lished at  Naples  in  1750. 

STRINGA,  Francesco,  painter,  born  at  Modena 
in  1635  (?),  was  a  follower  of  Lodovico  Lana. 
He  also  studied  Guercino,  and  the  best  pictures  in 
the  celebrated  Galleria  Estense,  of  which  he  was 
director.  He  painted  several  historical  subjects 
for  the  churches  and  the  ducal  palace  at  Modena, 
and  some  of  his  works  are  to  be  found  in  Venice. 
He  died  at  Modena  in  1709.  He  left  some  etch- 
ings ;  among  them : 

The  Disciples  placing  Christ  in  the  Sepulchre. 
Portrait  of  Francesco  II.,  Duke  of  Modena. 
St.  John  with  the  Cross. 

STRINGER,  Daniel,  portrait  painter,  was  a 
student  of  the  Royal  Academy  about  1770 ;  his 
portrait  heads  and  comic  sketches  were  good,  but 
he  lacked  application,  and  seems  gradually  to  have 
abandoned  art. 

STRINGER,  E.,  topographical  draughtsman, 
practised  towards  the  end  of  the  18th  century. 
He  was  a  member  of  the  Liverpool  Academy, 
where  many  of  his  works  were  exhibited.  Some 
are  engraved  in  the  'Gentleman's  Magazine'  of 
1785. 

STRIXNER,  Johann  NEPOiinK,  draughtsman 
and  lithographer,  born  at  Alten-Oetting  in  1782. 
He  studied  drawing  at  Wasserburg  under  the 
sculptor  Eichhorn,  and  in  1797  went  to  Munich, 
where  he  worked  under  Professor  Mitterer,  and  also 
learnt  engraving.  In  1809  he  made  his  first  essay 
in  lithography.     His  best  works  of  that  class  are  : 

137 


A   BIOGRAPHICAL   DICTIONARY   OF 


a  series  of  lithographs  after  Dijrer's  designs  for 
'  The  Prayer-Book  of  Kaiser  Max '  ;  some  Htho- 
graphs  for  the  collections  of  the  Boisserees, 
and  for  works  published  by  the  Munich  Gallery 
authorities. 

STROBERLE,  JoSo  Glamma,  painter,  born  at 
Lisbon  in  1708,  went  as  a  court  pensioner  to  Rome, 
where  he  studied  in  the  Academy  of  St.  Luke, 
under  Marco  Benefial,  and  was  principally  employed 
in  copying  Raphael.  After  spending  two  years  in 
Rome  he  returned  to  Lisbon,  where  lie  was  engaged 
at  the  theatre,  and  worked  for  Bishop  J.  Maria 
da  Fonseoa  e  Evora.  In  1751,  on  the  death  of  his 
patron,  he  went  to  London,  but  in  1765  returned 
to  Lisbon,  whence  after  tlie  earthquake  he  migrated 
to  Oporto,  where  he  died  in  1792.  His  chief  works 
are  :  '  The  Last  Supper '  in  S.  Nicoluo  ;  altar-pieces 
in  S.  Joao-Novo  and  Senhora  da  Victoria,  Lisbon, 
and  in  the  cathedral  of  Braga. 

STROEHLING,  P.  E.,  a  Russian  painter,  who 
was  educated  at  the  expense  of  tlie  Czar,  and 
finished  his  studies  in  Italy.  He  came  to  England 
about  1804,  and  practised  with  some  success  as  a 
portrait  painter  in  oils  and  in  miniature.  He  ex- 
hibited occasional  works  at  the  Academy  from 
1803  to  1826.  A  portrait  of  the  Duchess  of  York 
by  him  is  at  Buckingham  Palace. 

STROHMAYER,  Hans,  a  native  of  Prague,  who 
flourished  in  the  16th  century,  was  first  in  the 
service  of  the  Arch-Duke  Ernst  of  Austria,  and 
became  in  1583  court  painter  to  the  Emperor 
Rudolph  II.  He  etched  many  plates,  among  them 
a  '  Venus  and  Cupid,'  dated  1593. 

STROZZI,  Bernaedo,  called  II  Cafphccino 
Genovese,  and  sometimes  II  Prete  Genovese,  was 
born  at  Genoa  in  1581,  and  was  a  pupil  of  Pietro 
Sorri.  At  an  early  peiiod  of  his  life  he  became  a 
monk  of  the  order  of  St.  Francis.  This  retirement 
did  not,  however,  lead  him  to  abandon  his  pur- 
suits as  an  artist,  and  he  distinguished  himself  as  a 
reputable  painter  of  history.  Strozzi  left  the  cloister, 
when  a  priest,  to  contribute  to  the  support  of  an 
aged  mother  and  a  sister ;  but  the  one  dying  and 
the  other  marrying,  he  refused  to  return  to  his 
order;  and  being  forcibly  recalled  and  sentenced 
to  three  years'  imprisonment,  he  contrived  to  make 
his  escape  to  Venice,  where  he  passed  the  re- 
mainder of  his  days  as  a  secular  priest.  He  there 
painted  portraits,  in  which  walk  of  art  he  was 
superior  to  his  contemporaries,  and  in  all  his  larger 
compositions  he  painted  the  figures  from  life.  Of 
his  frescoes  at  Genoa,  the  most  important  is  a 
Paradise,  in  the  church  of  S.  Domenico,  a  copious 
composition,  with  a  force  approaching  that  of  oil. 
At  Novi  and  Voltri  are  several  altar-pieces  by  him, 
and  in  the  Palazzo  Brignole  is  an  'Increduhty  of 
St.  Thomas.'  He  was  more  occupied  for  private 
collections  and  galleries  than  for  the  churches. 
Strozzi  died  at  Venice  in  1641.  Among  his  works 
we  may  also  name  : 

Genoa.        Fal.  Burazzo.     Portrait  of  a  Bishop. 
„  Fal.  BalU.     Joseph  in  Prison. 

„  „  St.  John  the  Baptist. 

Paris.  Louvre.     Virgin  and  Child. 

„  „  St.  Anthony  of  Padua  with  the 

Child  Jesus. 
Venice.        S.  Benedetto.    St.  Seba.stian. 
„  Accademia.    St.  Jerome. 

STROZZI,  Zanobi  di  Benedetto,  painter,  born 
at  Florence  about  1412,  was  a  pupil  of  Era  Angelico. 
He  was  of  noble  birth,  and  painted  as  an  amateur. 
He  died  December  6,  1468.  There  is  a  '  St.  Law- 
rence '  by  him  in  the  UflSzi. 
138 


STRUDEL  VON  STRUDELSDORF,  Pieteb, 
Baron,  was  bom  at  Cles,  in  the  Tyrol,  in  1648,  and 
studied  at  Venice  under  Carlo  Lotti,  under  whose 
direction  he  became  a  reputable  painter  of  history. 
On  leaving  that  master,  his  talents  recommended 
him  to  the  Emperor  Leopold,  who  invited  him  to 
his  court,  appointed  him  one  of  his  painters,  and 
conferred  on  him  the  dignity  of  a  baron.  He  was 
tlie  first  Director  of  the  Academy  at  Vienna.  He 
died  at  Vienna  in  1717.  Pictures  by  him  are  to 
he  found  at  Vienna,  at  Cassel,  and  at  Diisseldorf. 
Strudel  was  also  a  sculptor. 

STRUETT,  JoUANN  Jakob,  painter  and  etcher, 
was  born  at  Weisenthal,  near  Basle,  in  1773.  He 
iias  left  some  views  near  Salzburg,  and  some  good 
aquatints.     He  died  in  1820. 

STRUTT,  Arthur  John,  son  of  Jacob  George 
Strutt,  was  born  at  Chelmsford,  Essex,  in  1819. 
He  studied  art,  and  more  especially  landscape 
painting,  under  his  father,  with  whom  he  visited 
France  and  Switzerland  (1835-1837),  and  after- 
wards Italy,  ultimately  settling  down  at  Rome. 
From  the  latter  city  he  undertook  in  1838  a 
pedestrian  tour  through  Calabria  and  Sicily,  and 
narrowly  escaped  being  murdered  by  Calabrian 
brigands.  He  related  his  experiences  in  a  book 
('  A  Pedestrian  Tour  through  Calabria  and  Sicily,' 
London,  1844  ;  Newby),  which  he  illustrated  with 
a  series  of  highly-finished  etchings.  He  excelled 
in  the  painting  of  animals  and  trees,  and  among 
his  most  successful  works  is  a  large  picture  repre- 
senting a  meet  of  the  Roman  Fox-hounds,  with 
a  portrait  of  the  late  King  Humbert.  The  Roman 
Campagna  was  a  suliject  which  he  was  never 
tired  of  interpreting  in  all  its  various  aspects  and 
phases.  After  an  active  and  honoured  career, 
devoted  to  art,  literature  and  archaeology,  Arthur 
John  Strutt  died  at  Rome  in  June  1888.     E.  C.  S. 

STRUTT,  Jacob  George,  an  English  landscape 
painter,  born  in  1790.  He  successfully  followed 
Constable's  manner.  His  works  appeared  at  the 
Royal  Academy  from  1822  to  1852.  Soon  after 
1830  he  settled  at  Lausanne,  and  thence  migrated 
to  Rome,  not  returning  to  England  till  1851. 
There  is  a  landscape  by  him  at  Woburn  Abbey. 
He  used  the  etching-needle,  and  pubUshed  in 
1821,  'Bury  St.  Edmunds.  Illustrated  in  Twelve 
Etchings';  and  later,  two  other  volumes  of 
etched  plates,  '  Sylva  Britannica'  (1825),  and 
'  Deliciaj  Sylvaruin '  (1828).  He  died  at  Rome  in 
1864. 

STRUTT,  Joseph,  an  English  engraver,  and 
writer  on  art,  born  about  the  year  1749,  was 
the  son  of  an  Essex  gentleman  farmer,  Thomas 
Strutt.  He  engraved  a  variety  of  plates  in  the 
crayon  and  dotted  manner,  which  are  executed 
with  great  neatness  and  delicacy.  We  are  chiefly 
indebted  to  him,  however,  for  his  'Biographical 
Dictionary  of  Engravers,'  with  plates  engraved  by 
himself.  He  also  published  the  '  Antiquities  of 
England,'  also  with  his  own  plates  ;  and  '  Horda 
Angel-cynnan,  or  the  Manners  and  Customs  of  Eng- 
land from  tlie  time  of  the  Saxons ' ;  '  Chronicles  of 
England';  'Regal  and  Ecclesiastical  Antiquities  of 
England ' ;  '  Dresses  and  Habits  of  the  People  of 
England '  ;  '  Sports  and  Pastimes.'  He  also  left  an 
unfinished  romance  in  manuscript,  entitled  'Queen- 
Hoo-Hall,'  which  Sir  Walter  Scott,  in  1808,  en- 
deavoured to  complete.  Strutt  exhibited  at  the 
Royal  Academy  from  1779  to  1784.  He  died  in 
London  in  1802.  Among  others,  we  have  the 
following  plates  by  him  : 


PAINTERS  AND  ENGRAVERS. 


The  Birth  of  Vmas.     1779. 

Pandora  presenting  the  fatal  Boi  to  Epimetheus.   1779. 

Cantiaules  betrayiug  his  Queen  to  his  favourite  Gyges ; 

after  Le  Sueur.     1787. 
Twelve  Illustrations  for  the  '  Pilgrim's  Progress ' ;  after 

T.  Stothard. 
Venus  in  the  Island  of  Cyprus. 
Allegory  of  America ;  after  R.  E.  Pine.    E.  C.  S.  &  M.  H. 

STRUTT,  William  Thomas,  the  son  of  tlie 
celebrated  antiquary,  Joseph  Strutt,  born  in  1777. 
He  occupied  a  high  position  in  the  Bank  of  England, 
but  in  his  leisure  time  painted  miniatures.  They 
are  marked  by  most  exquisite  detail  and  a  charm- 
ing scheme  of  colour.  He  died  in  1850,  in  liis 
seventy-third  year. 

STUART,  Gilbert,  an  Anglo-American  painter 
of  great  talent,  was  born  in  the  State  of  Rhode 
Island  in  the  year  1754.  Soon  after  reaching  man- 
hood he  came  to  England,  and  was  introduced  to 
Benjamin  West,  with  whom  he  worked  for  some 
time.  He  showed  great  ability,  and  some  portraits 
that  he  exhibited  brought  him  into  public  notice. 
He  rose  into  eminence,  and  his  claims  were  acknow- 
ledged even  during  the  life  of  Sir  Joshua  Reynolds. 
His  reputation  as  a  portrait  painter  introduced  him 
to  a  wide  acquaintance  among  the  higher  classes 
of  society,  and  he  was  on  the  road  to  fame  when 
he  left  England.  He  returned  to  America  in  1793, 
and  resided  chiefly  in  Philadelphia  and  Washing- 
ton, in  the  practice  of  his  profession,  till  about  the 
year  1805,  when  he  removed  to  Boston,  where  he 
remained  to  the  time  of  his  death.  During  the 
last  ten  years  of  his  life  he  had  to  struggle  with 
many  infirmities ;  yet  such  was  the  vigour  of  his 
mind,  that  it  seemed  to  triumph  over  the  decays 
of  nature,  and  to  give  to  some  of  his  last  produc- 
tions all  the  truth  and  splendour  of  his  prime. 
While  in  England  he  painted  the  portraits  of  Sir 
Joshua  Reynolds,  Benjamin  West,  W.  Woollett, 
Alderman  Boydell,  John  Kemble,  Dr.  Fothergill, 
and  many  persons  of  less  note.  But  his  best  work 
in  this  country  is  a  full-length  of  a  Mr.  Grant, 
skating  in  St.  James's  Park.  It  is  in  the  collection 
of  Lord  Charles  Pelham  Clinton.  Of  his  American 
portraits,  that  of  Washington  is  the  chef  dceuvre. 
He  painted  the  President  several  times ;  once  for 
the  late  Marquis  of  Lansdowne  ;  this  was  engraved 
by  James  Heath.  Stuart  died  at  Boston  in  1828. 
Several  of  the  portraits  mentioned  above  are  in  tlie 
National  Portrait  Gallery. 

STUART,  James.  This  man  is  generally  known 
as  Athenian  Stuart,  on  account  of  the  exquisite  \ 
drawings  that  he  made  in  Athens,  many  of  which 
were  issued  by  the  Society  of  Dilettanti  in  1762. 
It  has  been  said  that  Stuart's  work  in  this  way 
was  "the  commencement  of  the  serious  study  of 
the  classical  art  and  antiquities  of  Europe."  Stuart 
was  born  at  Ludgate  Hill,  1713.  He  commenced 
employment  as  a  fan-painter,  and  then  took  to  the 
study  of  architecture.  He  went  to  Rome  on  foot, 
earning  money  for  his  sustenance  on  the  way  by 
painting  the  portraits  of  the  people  whom  he  met. 
The  expenses  of  his  work  at  Athens  were  paid  by 
the  Dilettanti  Society,  and  the  work  was  carried 
on  under  very  great  difficulty.  The  issue  of  the 
book  of  drawings  made  him  famous,  and  he  prac- 
tised as  an  architect  with  success,  exhibiting  also 
from  time  to  time  the  drawings  he  had  made  in 
Italy  and  Greece.  He  died  while  at  his  easel  in 
his  house  in  Leicester  Square  in  1788,  and  after 
his  death  other  volumes  of  his  works  were  issued, 
and  many  editions  of  them. 


STUB.     See  Kratzenstein-Stub. 

STUBBS,  Geurgb,  an  eminent  animal  painter, 
engraver,  and  painter  in  enamel,  was  born  at  Liver- 
pool on  August  24,  1724.  His  father,  a  consider- 
able currier  and  leather-dresser,  encouraged  his 
son's  studies  in  drawing  and  anatomy.  He  died 
when  Stubbs  was  fifteen  years  of  age,  leaving  his 
widow  and  son  in  comfortable  circumstances.  The 
latter,  having  been  advised  by  his  father  to  seek 
out  the  best  master  available,  engaged  himself  to 
Hamlet  Winstanley,  a  Warrington  artist,  twenty- 
four  years  his  senior,  who  was  employed  at  Knows- 
ley  Hall,  near  Liverpool,  in  copying  and  engraving 
plates  from  the  masterpieces  in  the  Earl  of  Derby's 
gallery.  Stubbs  was  to  assist  in  making  copies, 
and  to  receive  in  exchange  instruction  and  a 
shilling  a  day  for  pocket-money.  Winstanley  pro- 
mised that  he  should  copy  such  pictures  as  he 
chose.  Unfortunately,  the  lad  selected  several 
which  his  master  insisted  on  reserving  for  himself, 
and  the  irascible  youth  refused  to  have  anything 
more  to  do  with  him.  Stnbbs  left  it  on  record 
that  he  thereupon  resolved  (somewhat  incon- 
sequently)  never  more  to  copy  any  picture,  but  to 
"  look  into  Nature  for  himself,  and  consult  and 
study  her  only."  After  remaining  at  home  until 
nearly  twenty  years  of  age,  Stubbs  removed  to 
Wigan,  and  thence  to  Leeds,  where  he  set  up  as  a 
portrait  painter.  A  lucky  commission  took  him 
thence  to  York,  where  he  found  means  to  pursue  his 
anatomical  studies  under  a  local  surgeon.  He  made 
such  rapid  progress  that  he  was  soon  employed 
in  giving  private  lectures  on  the  subject  to  the 
hospital  students.  The  drawings  made  by  Stnbbs 
of  the  results  of  his  dissection  of  an  interesting 
obstetrical  case  were  so  much  esteemed,  that  a  Dr. 
Burton  asked  him  to  engrave  them  for  a  projected 
work  on  the  subject.  Stubbs  knew  nothing  of  the 
technical  processes  of  engraving,  so  he  resorted  to 
a  house-painter  at  Leeds,  reported  to  be  an  expert, 
under  whose  guidance  he  covered  a  worn  half- 
penny with  etching  varnish,  and  after  smoking  it, 
made  his  first  essay  with  a  sewing-needle  stuck  in 
a  skewer.  The  commission  was  executed  to  Dr. 
Burton's  satisfaction.  Stubbs  remained  in  York- 
shire until  1754,  the  latter  part  of  the  time  being 
spent  at  Hull.  In  that  year,  after  a  short  visit  to 
Liverpool,  he  set  out  for  Italy,  his  purpose  being  to 
subject  to  the  severest  possible  test,  his  opinion  that 
Nature  is  superior  to  all  Art.  Having  satisfied  him- 
self on  the  subject  with  characteristic  promptitude, 
he  did  not  remain  long  enough  at  Rome  to  incur  the 
risk  of  changing  his  mind,  but  returned  to  England  ; 
and  he  remained  at  Liverpool  until  his  mother's 
death eighteenmonthslater.  After settlingheraffairs 
Stubbs  left  his  native  city,  never  to  return.  The  fact 
that  his  illegitimate  son,  George  Townley  Stubbs, 
was  born  in  1756,  suggests  a  possible  connection 
between  the  two  events.  During  the  four  years  that 
intervened  between  Stubbs'  departure  from  Liver- 
pool and  arrival  in  London,  he  was  engaged  on  pre- 
parations for  his  monumental  work  on  the  'Anatomy 
of  the  Horse.'  Most  of  the  dissections  and  draw- 
ings were  made  at  a  lonely  farmhouse  in  Lincoln- 
shire, where  he  was  able  to  pursue  his  unsavoury 
studies  without  offence  to  the  noses  of  sensitive 
neighbours.  His  sole  companion  was  a  Miss  Mary 
Spencer,  variously  described  as  his  aunt  and  his 
niece  (possibly  she  was  neither),  who  remained 
closely  attached  to  him  throughout  his  life.  No 
ordinary  enthusiasm  or  affection  must  have  been 
required  to  enable  her  to  endure  the  effects  of  a 

139 


A   BIOGRAPHICAL   DICTIONARY   OF 


succession  of  dead  horses,  each  kept  in  the  house  for 
six  or  seven  weeks,  until,  in  fact,  it  became  unen- 
durable. Stubbs  himself  seems  to  have  been  wholly 
indifferent  to  the  odour  of  putrid  flesh.  When 
Stubbs  arrived  in  London  in  1760,  he  was  unable 
to  persuade  any  engraver  to  undertake  the  repro- 
duction of  his  drawings,  so  he  indomitably  set  to 
work  on  them  himself.  As  his  days  were  given  up 
to  the  painting  of  commissioned  works,  he  had  to 
labour  on  the  plates  at  night  and  in  early  morning 
liours.  By  1766  the  task  was  completed,  and  the 
work  on  its  publication  gave  him  a  European 
reputation,  both  in  science  and  art.  As  the 
Reynolds  of  the  horse,  Stubbs  painted  the  most 
notable  racers  of  his  day — usually  hard,  exact, 
splendidly  modelled,  and  to  the  modern  eye  ratlier 
uninteresting.  Reynolds  was  among  the  early 
London  patrons  of  Stubbs,  and  seems  to  have 
esteemed  him  greatly  ;  yet  he  was  not  included 
in  the  membership  of  the  Royal  Academy  on  its 
formation  in  1768,  or  fur  long  after.  This  may 
have  been  due  to  his  connection,  eventually  as 
President  (1773),  with  the  Society  of  Artists.  In 
1782  Stubbs  was  at  last  styled  "  R.A.  elect"  in 
the  R.A.  catalogue.  He  is  said  to  liave  been 
elected  an  Associate  on  November  6,  1780,  and 
R.A.  on  February  13,  1781,  but  no  evidence  of  this 
is  to  be  found  in  the  catalogues.  Unfortunately, 
all  the  artist's  seven  contributions  in  1782  were 
ill-hung ;  Stubbs  was  enraged,  and  refused  to 
comply  with  the  requisite  formalities.  The  Royal 
Academy  thereupon  rescinded  his  election  on 
February  11,  1783,  and  when  he  next  exhibited 
(in  1786),  it  was  as  "Associate,"  and  so  he  con- 
tinued until  his  death,  although,  by  an  odd  acci- 
dent, he  was  once  described  R.A.  in  the  1803  cata- 
logue. He,  however,  always  styled  himself  an 
Academician.  The  causes  of  this  quarrel  are 
obscure.  There  evidently  was  a  party  inimical 
to  Stubbs,  for  a  new  and  severer  law  in  regard  to 
diploma  pictures  seems  to  have  been  expressly 
framed  to  meet  his  case.  He  was  a  hot-tempered, 
stubborn  man,  and  his  anger  had  been  provoked 
by  tiie  treatment  of  his  pictures  in  1782,  perhaps 
unjustly,  for  some  of  them  were  painted  in  enamel 
colours  on  thin  earthenware  panels,  the  result  of 
elaborate  experiments  at  the  instigation  of  Cosway. 
It  is  probable  tliat  the  colours  were  so  bright  and 
harsh  that  it  was  very  difficult  to  hang  them  with 
oils.  Stubbs  executed  a  good  many  pictures  in 
this  style,  but  eventually  returned  to  canvas,  on 
which  more  perishable  support  he  commenced  in 
1790  a  series  of  portraits  of  celebrated  racers,  from 
tlio  Godolphin  Arabian  to  the  equine  aristocracy 
of  his  own  day.  There  was  to  be  an  exhibition 
after  which  the  pictures  were  to  be  engraved,  and 
then  published,  with  descriptive  letterpress  in  a 
monumental  volume.  The  national  war  troubles 
prevented  the  full  realization  of  the  scheme, 
but  Stubbs  executed  sixteen  of  the  pictures, 
whicli  were  exhibited  and  engraved,  mostly  in 
duplicate.  When  over  seventy  years  of  age 
Stubbs  projected  another  great  anatomical  work  : 
'A  Comparative  Anatomical  Exposition  of  the 
Structure  of  the  Human  Body  with  that  of  a 
Tiger  and  a  Common  Fowl,'  in  thirty  tables. 
The  veteran  completed  his  work,  but  died  when 
only  half  of  it  had  been  published.  On  the  morn- 
ing of_  July  10,  1806,  he  suddenly  expired,  sitting 
alone  in  his  ann-chair,  with  no  more  premonition 
than  a  transient  dreadful  pain  on  rising  from  bed. 
The  day  prior  to  his  death  he  had  walked  eight  or 
140 


nine  miles  without  fatigue  ;  and,  shortly  before,  a 
walk  of  sixteen  miles,  with  the  burden  of  a  small 
portmanteau,  was  no  unusual  performance.  This, 
liowever,  would  seem  a  trifle  to  a  man  who  is 
said  in  his  prime  to  have  more  than  once  carried  a 
dead  horse  up  two  or  three  flights  of  a  narrow 
staircase  to  his  dissecting-room.  He  was  a  frugal 
eater,  drank  only  water  during  the  latter  half  of 
his  life,  and  indulged  sparingly  in  sleep.  Stubbs 
was  buried  in  Marylebone  Church.  He  left  all  his 
property  to  Miss  Spencer.  His  remaining  works 
(98  lots)  were  sold  by  Peter  Coxe  on  May  26, 1807. 
Stubbs  had  little  imagination,  but  his  knowledge 
of  animals  was  very  great,  and  he  represented 
them  as  he  saw  them  with  unflinching  veracity. 
When  he  saw  a  dramatic  incident  he  could  repre- 
sent it  with  much  force,  as  in  the  picture  of 
'  Horses  Fighting '  or  his  '  Horse  frightened  by 
a  Lion.'  Tigers  lie  understood  particularly  well — 
as,  for  example,  the  admirable  'Tigress'  mezzo- 
tinted by  John  Murphy.  The  public  gallery  of  his 
native  city  possesses  two  paintings  by  Stubbs, 
'The  Racehorses  of  George  III.'  and  a  '  Horse  and 
Lioness '  ;  also  an  excellent  portrait  in  pastel  by 
Ozias  Humphreys,  R.A.,  and  another  by  Richard 
Caddick.  There  are  several  other  portraits,  which 
are  detailed  in  an  appendix  to  Sir  Walter 
Gilbey's  'Life  of  Stubbs'  (4to,  1898),  a  pains- 
taking work,  which,  as  regards  the  biography, 
is  chiefly  based  on  the  excellent  Memoir  (8vo, 
1876)  by  Joseph  Mayer,  F.S.A.  A  list  of  Stubbs' 
known  works  is  given  in  another  appendix,  and  a 
number  of  them  are  illustrated.  According  to 
Graves,  Stubbs,  between  1761  and  1806,  exhibited 
60  pictures  at  the  Society  of  Artists,  53  at  the 
Royal  Academy,  and  8  at  the  Britisli  Institution. 
There  was  a  Loan  Exhibition  of  his  works  at  J.  and 
W.  Vokins'  Gallery,  Great  Portland  Street,  W.,  in 
1885.  It  consisted  of  46  pictures  and  69  engrav- 
ings. His  landscape,  'Gentleman  holding  a 
Horse,'  is  in  the  National  Gallery.  His  '  Lion  and 
Lioness,'  with  rocky  background,  and  '  Goose  with 
outstretched  Wings,'  are  at  South  Kensington. 
Many  of  his  works  were  engraved  by  Woollett, 
Earlom,  Val  Green,  Hodges,  Murphy,  Townley 
Stubbs,  &c.  E.  R.  Di 

STUBBS,  George  Townley,  son  of  George 
Stubbs,  born  in  1756,  died  in  1815,  engraved 
several  of  his  father's  pictures  of  animals,  and  a 
few  plates  after  others. 

STUBBS,  James  Henry  Phillipson,  (1810-1864,) 
engraver,  the  fourth  son  of  William  Trowbridge 
Stubbs,  a  gentleman  of  some  private  means,  was 
born  in  Marylebone  on  Maj'  9,  1810.  At  an  early 
age  he  became  the  pupil  of  the  Findens,  and  with 
them  learned  his  profession.  He  afterwards  con- 
tinued to  do  work  for  them,  and  others,  in  book 
illustrations  and  other  engravings.  In  1835  he 
published  a  large  engraving,  from  a  painting  by 
R.  W.  Buss,  entitled  '  The  First  of  September,'  the 
subject  being  a  gouty  old  gentleman  in  a  bath- 
chair  shooting  partridge.  In  1840  he  published 
another  large  steel-engraving,  with  mezzotint 
ground,  from  a  sketch  by  Spalding,  '  Bill  and 
Harry,  a  favourite  Pointer  and  Setter,'  considered 
a  good  specimen  of  combination  of  the  two  styles, 
when  steel-engraving  was  supplanted  by  photo- 
graphy and  other  processes,  he  resolved  to  try 
oil-painting,  but  did  not  survive  long  to  carry  out 
his  intention,  his  death  occurring  on  August  23, 
1864.  He  had  married  in  1839  Ann  Verrity,  by 
whom  he  left  issue.  H.  S. 


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PAINTERS  AND  ENQRAVEES. 


STUBLEY,  P.,  portrait  painter,  practised  in 
London  in  the  first  part  of  the  18th  century. 
There  is  a  plate  after  his  portrait  of  Peter  Monamy, 
the  marine  painter,  and  several  other  of  his  portraits 
were  engraved  by  J.  Faber. 

STUCKELBERQ,  Johann  Melchior  Ernst, 
Swiss  painter,  was  born  at  Basle  in  1831.  His  first 
teacher  was  the  portrait  painter  Dietler,  in  Berne, 
then  in  1850  he  went  to  Antwerp  and  studied 
under  Wappers  and  Dyckmans.  He  then  travelled 
in  Italy,  Spain,  and  Holland.  Afterwards  he  went 
to  Paris  ;  and  then  in  Munich  he  worked  with 
Moritz  von  Sohwind.  He  also  travelled  mucli. 
Success  came  to  him  early  in  his  career.  In  the 
Basle  Museum  are  three  of  his  best  early  pictures, 
'Marientag  im  Sabinergebirge '  (1860),  'Marion- 
etten,'  and  'Kinder  des  Kiinstlers'  (1871).  But  the 
chief  work  of  his  life  was  the  series  of  frescoes  in 
the  William  Tell  Chapel  (1878-1882).  They  are 
four  in  number,  '  Der  Riitlisohwur,'  '  Der  Apfel- 
schuss,'  '  Der  Sprung  aus  dem  Schiff,'  and  '  Gesslers 
Tod.'  In  colour,  sentiment,  and  grouping,  they 
are  very  successful.  Among  his  other  works  may 
be  named  :  '  Der  biissende  Parricida'  (1889),  'Der 
Verlorene  Sohn,'  'Der  Geiger  von  Anticoli,'  'Tod 
uud  Leben,'  '  Das  Grab,'  and  '  Die  drei  Menschen- 
alter.'  He  obtained  the  Munich  gold  medal  in 
1869,  and  the  Vienna  gold  medal  in  1873,  also  the 
Franz  Joseph  Order.     He  died  at  Basle  in  1903. 

J.  H.  W.  L. 

STUDIO.     See  Lint,  Hendkik  van. 

STUERBOUDT.    See  Boots,  Dieriok. 

STUERBOUT.    See  Bohts,  Hubert. 

STUHR,  Johann  Georq,  painter,  was  bom  at 
Hamburg  about  1640.  He  painted  landscapes,  sea 
pieces,  and  harbour  views  in  the  style  of  Storck  and 
Lingelbach,  poultry  in  the  style  of  Hondekoeter, 
and  a  few  historical  subjects.  In  the  Schloss  at 
Berlin  there  is  a  'Sacrifice  of  Iphigenia'  by  this 
artist,  and  in  the  Cassel  Gallery  a  '  Harbour  Scene.' 

STUMP,  John  S.,  miniature  painter,  was  a 
student  of  the  Academy,  and  was  a  constant  con- 
tributor to  the  London  exhibitions  from  about 
1802  to  1849.  His  miniatures  were  highly  esteemed 
for  their  breadth  of  treatment  and  fine  tone.  He 
painted  also  a  few  portraits  in  oil,  and  some  Swiss 
landscapes,  and  was  a  member  of  the  Sketching 
Society.     He  died  in  1863. 

STUNTZ.     See  Freyberq,  Elektrine. 

STUNTZ,  Johann  Baptist,  lithographer  and 
draughtsman,  was  bom  at  Arlesheim,  near  Basle, 
in  1763.  He  painted  landscapes  in  water-colour, 
and  published,  jointly  with  J.  Hartmann,  a  series 
of  Swiss  views.  In  1802  he  settled  at  Strasburg, 
where  he  carried  on  business  as  an  art  dealer,  and 
finally  removed  to  Munich,  where  he  devoted 
himself  to  lithography,  and  was  associated  with 
others  in  the  issue  of  reproductions  from  Diirer. 
He  died  in  1836. 

STUREL,  Marie  Octavie,  {nee  PaignSe,)  painter, 
was  bom  at  Metz  in  1819.  She  painted  flowers 
and  fruit,  chiefly  in  pastel.  She  died  at  Metz  in 
1854. 

STURM,  Ferdinand.     See  Sturmio,  Hernando. 

STURM,  Jacques,  painter,  was  born  at  Luxem- 
burg in  1808.  He  was  a  pupil  of  J.  B.  Fresez,  and 
worked  for  some  time  at  a  lithographic  establish- 
ment at  Brussels.  In  1841  he  went  to  Paris,  and 
afterwards  visited  Italy,  where  he  died  in  1844. 

STURMER,  Johann  Heinrich,  painter,  born  at 
Kirchberg,  in  Hohenlohe,  in  1774,  studied  at  Oeh- 
ringen,  at  Augsburg,  and  at  Gottingen,  and  settled 


eventually  at  Berlin,  where  he  became  a  member 
of  the  Academy.  He  painted  landscapes,  historical 
pictures,  and  military  scenes.  He  died  at  Berlin  in 
1855... 

STURMER,  Karl,  painter,  born  at  Berlin  in 
1803,  was  the  son  and  pupil  of  Johann  Heinrich 
Stiirmer.  He  studied  ut  Diisseldorf  under  Corne- 
lius, and  devoted  himself  chiefly  to  fresco  painting. 
His  first  work  of  importance  was  a  fresco  in  the 
Schloss,  Helltorf,  near  Diisseldorf,  'The  Recon- 
ciliation between  Barbarossa  and  Pope  Alexander.' 
He  accompanied  Cornelius  to  Munich,  and  was 
employed  upon  the  frescoes  in  the  arcades  of  the 
'  Hofgarten,'  and  again,  in  1842,  went  with  the 
master  to  Berlin,  and  painted  several  frescoes  from 
Schinkel's  designs  in  the  portico  of  tlie  Berlin 
Museum.  He  further  painted  two  figures  of  pro- 
phets for  the  Schloss  Chapel,  and  numerous  easel 
pictures,  battle-pieces,  landscapes,  and  genre 
pictures.     He  died  in  March,  1881. 

STURMIO,  Hernando,  a  Dutchman,  born  at 
Ziricksee,  resided  at  Seville  about  the  middle  of  the 
16th  century,  and  painted  the  altar  of  the  chapel  of 
the  Evangelists  in  the  cathedral  there,  in  several 
compartments.  One  of  these  compartments  is  in- 
scribed, Hernaiidus  Sturmius  Ziriczcensis  faciebat, 
1555. 

STURRINI,  Marco,  an  Italian  painter,  who  is 
known  only  by  the  existence,  in  the  Uffizi  at 
Florence,  of  a  '  Penitent  Magdalene '  with  this 
inscription  :    Opus  Marci  Sturrini,  1654. 

STURT,  John,  born  in  London  the  6th  of  April, 
1658,  and  a  pupil  of  Robert  White,  was  an  excellent 
engraver  of  letters.  His  principal  work  is  his 
Book  of  Common  Prayer,  published  in  1717,  which 
was  engraved  on  silver  plates.  At  the  top  of  every 
page  there  is  a  small  historical  vignette.  He  died 
in  1730. 

STURTZ,  LuDwia,  genre  painter,  whose  death 
in  1904  took  place  in  his  sixtieth  year,  was 
a  pupil  of  Lindenschmit,  to  whose  methods  he 
remained  faithful,  though  each  of  his  works  shows 
his  own  idealizing  style.  He  never  painted  for 
mere  effect,  and  was  a  somewhat  slow  worker. 
Among  his  best  things  are,  '  The  Wandering 
Musician,' '  The  Poacher's  Farewell,' and  'Ahasu- 
erus,'  which  created  a  sensation  at  the  Munich 
Exhibition  of  1900. 

STUVEN,  Ernst  van,  bom  at  Hamburg  in  1657, 
was  the  pupil  of  an  obscure  painter,  named  Hing. 
In  1675  he  went  to  Amsterdam,  where  he  studied 
under  Jan  Voorhout,  a  reputable  painter  of  history 
and  portraits.  Finding  that  the  pictures  of  flowers 
and  fruit  by  Abraham  Mignon  were  at  that  time  in 
great  favour,  and  having  himself  an  inclination  for 
that  branch  of  the  art,  he  became  his  disciple,  and 
won  a  respectable  place  in  the  same  genre.  He 
was  a  man  of  violent  character,  and  was  more 
than  once  in  prison.     He  died  in  1712. 

SUARDI,  Bartolommeo,  called  II  Bramantino, 
was  born  about  1450.  Commencing  in  the  tradition 
and  methods  of  the  Brescian,  Vincenzo  Foppa,  he 
came  to  study  later  under  the  great  architect  and 
painter  Bramante,  and  hence  acquired  his  nick- 
name of  Bramantino  (the  little  Bramante). 

Bramante's  work  in  painting  is  difficult  to 
i!nalyze ;  and  he  seems  to  have  left  Milan  in 
1499,  upon  the  overtlirow  of  Duke  Lodovico.  As 
Leonardo  left  the  city  at  the  same  time,  Braman- 
tino remained  there  in  some  prominence,  and 
exercised  great  influence  over  the  younger  artists, 
such  as  Gaudenzio  Ferrari  and  Bernardino  Luini. 

141 


A  BIOGRAPHICAL  DICTIONARY  OF 


We  (race  this  in  the  frescoes  of  the  Brera  Gallery, 
where,  if  the  '  St.  Martin  and  the  Beggar '  shows 
Foppa's  influence,  the  '  Child  among  Vine-leaves ' 
comes  so  close  to  Luini  that  it  might  well  be  his 
own.  Among  the  most  interesting  of  Bramantino's 
surviving  works  are  a  series  of  heads  from  the 
Castle  of  San  Martino,  between  Brescia  and  Mantua, 
which  are  in  the  possession  of  Mr.  Willett,  of 
Arnold  House,  Montpelier  Road,  Brighton.  Six  of 
these  panels  have  been  exhibited  by  him  in  the 
Victoria  and  Albert  Museum.  These  heads  are  of 
men,  and  each  is  seen  against  an  arch,  hung  with 
festooned  leaves  ;  fine  in  drawing  and  full  of 
character,  they  are  not  necessarily  portraits,  but 
fanciful  heads,  the  human  form  being  used  for 
decorative  purposes.  In  Foppa's  manner  is  the 
steep  perspective  of  the  separate  arches,  while 
the  festoons  of  leaves  are  characteristic  of  the 
Squarcionesques.  Mr.  Willett  sold  to  the  Museum 
those  exhibited  at  one  time  there  ;  another  of  these 
panels  is  in  the  possession  of  Sir  Martin  Conway, 
and  twenty-seven  now  remain  in  Mr.  Willett's 
hands.  These  panels,  like  those  of  the  Victoria 
and  Albert  Collection,  are  nearly  all  (not  all,  how- 
ever) profile  studies,  and  nearly  all  of  men.  The 
fantastic  headgear,  in  which  a  turban  frequently 
appears,  is  very  characteristic  of  Bramantino ;  the 
purity  of  profile,  defined  always  against  an  arch, 
is  to  be  noticed — a  point,  this,  wliich  appealed 
strongly  to  the  late  Lord  Leighton,  whose  more 
particular  admiration  was  reserved  for  the  fine 
central  male  figure  with  short  close-trimmed 
beard. 

In  the  Brera  Gallery  at  Milan  will  be  found 
in  the  passage  among  the  affreschi  di  Scuola 
Lomharda  a  very  noble  '  Virgin  and  Child '  by 
Suardi.  This  came  to  the  Gallery  from  the  old 
Palazzo  del  Broletto,  now  the  Archivio  Notarile 
in  the  Piazza  del  Mercante  near  the  Duomo.  The 
Virgin  here  extends  the  arms  of  the  Child  Jesus 
into  the  form  of  the  Cross.  Behind  appear  two 
angels — that  one  on  the  left  in  the  shadow  with 
folded  arras  being  of  very  singular  beauty.  The 
Virgin  holds  on  her  right  a  tablet  with  the  words — 
Soli  Deo.  The  whole  is  a  lovely  creation  of 
Lombard  work,  and  is,  of  course,  in  fresco,  as  is 
the  putto,  or  baby  child,  near  it,  clad  only  in  a 
looped-up  vest  of  heliotrope  colour,  and  holding 
grapes  in  his  hand,  while  the  great  vine-leaves 
shadow  him.  This  came  from  La  Pelucca  near 
Monza ;  and  here  our  artist  may  have  given 
an  impulse  to  Luini,  whose  frescoes  from  the 
same  provenance  are  justly  famous.  A  yet  more 
important  fresco  in  the  Brera  Collection  is  the 
'  St.  Martin  dividing  his  Mantle,'  which  he  is  in 
the  act  of  cutting  with  his  drawn  sword  to  give  to 
a  poor  beggar.  The  saint  of  brotherly  charity  is 
seen  here  as  a  half-figure,  standing  before  a  dark 
doorway  ;  be  wears  armour,  and  a  crimson  mantle 
covers  his  head.  This  fine  fresco,  which  is  almost 
(but  not  quite)  equal  to  the  'Virgin  and  Child' 
just  mentioned,  came  from  the  Monastero  delle 
Vetere  at  Milan. 

To  turn  now  to  Bramantino's  oil  paintings. 
In  the  grand  '  Holy  Family '  of  the  Brera  Col- 
lection, as  in  the  noble  fresco  just  alluded  to,  the 
Child  Jesus  extends  His  arms,  standing  upright. 
The  Virgin  here  wears  a  blue  robe  and  pink 
turban  ;  beliind  her  is  St.  Joseph,  and  a  building 
appears  in  the  background.  This  most  interest- 
ing painting  was  presented  tn  the  Gallery  by  His 
Eminence  Cardinal  Monti,  Archbishop  of  Milan. 

142 


A  work  even  finer  still  is  Suardi's  great  '  Cruci- 
fixion '  in  the  same  Gallery  ;  it  is  the  great  scene, 
surely,  which  in  his  thought  was  prefigured 
already  when  Mary  held  the  Child  against  her 
bosom.  And  thus  the  whole  rendering  becomes  in 
our  artist's  hands  intensely  dramatic.  Even  the 
two  thieves,  hanging  upon  their  crosses,  turn,  as 
if  drawn  by  magnetism,  towards  their  suflrering 
Saviour,  and  in  tlie  clouds  the  Angels  of  Good  and 
Evil  appear  in  spiritual  conflict ;  beneath,  the 
swaying  crowd  of  mourners  and  Jews  is  marvellous 
in  grouping  and  passionate  movement.  To  be 
noted  especially  is  that  lovely  group  of  the  Virgin, 
St.  John,  and  the  Magdalen  ;  and  yet  again  that 
Jew,  in  safi^ron-yellow  robe,  who  balances  this 
group  upon  the  other  side.  In  the  heaven  above 
both  sun  and  moon  are  seen  veiled  in  clouds,  and 
Jerusalem  appears  behind,  in  the  roofs  and  towers 
of  some  medieval  Italian  city.  Yet  again  in 
Milan,  Bramantino  touches  the  last  scene  in  the 
story  of  Christ's  sufl^ering  for  man.  In  the  little 
church  of  S.  Sepolcro,  over  the  door  leading  to 
the  Campanile  upon  the  left  on  entering  we  may 
find  a  '  Dead  Christ '  lying  back  supported  by  the 
Virgin,  with  the  two  Maries  at  either  side.  It 
is  not  easy  to  study  this  work  in  detail,  as  the 
church  is  dark  and  small  ;  but  it  can  be  seen 
to  be  a  very  noble  treatment  of  the  subject,  full  of 
beauty  and  devotional  feeling.  The  figures  are 
all  half-length.  Bramantino  is  represented  in  the 
Mus^e  du  Louvre  by  a  fine  '  Circumcision,'  dated 
1491.  The  Virgin  and  Child,  with  six  figures  of 
saints  and  bishops,  are  seen  here  against  the  sky 
beneath  a  most  beautiful  Renaissance  canopy 
carved  in  intarsia  work.  It  is  to  be  noted  that 
the  Child  here  is  already  very  Leonardesque  in 
type,  while  the  kneeling  figures  are  strongly 
drawn.  It  is  to  be  regretted  that  the  National 
Gallery  of  London  has  no  example  of  this 
interesting  Lombard  ;  but  he  is  in  no  sense 
a  prolific  Italian  artist,  and  many  Galleries, 
such  as  the  Prado  and  the  Dresden  collections, 
rich  in  Italian  pictures,  are  equally  without  his 
works. 

To  his  works  in  Italy,  already  detailed,  must 
be  added  his  altar-piece  in  the  Ambrosiana  at 
Milan,  and  his  frescoes  in  chiaroscuro  in  the  cloisters 
of  S.  Maria  delle  Grazie  of  that  city ;  while  a 
signed  work  at  Locarno — a  'Flight  to  Egypt'  in 
the  Madonna  del  Sasso — is  important  and  typical. 
His  dates  even  are  uncertain.  We  shall  not  be 
far  wrong,  I  think,  if  we  take  him  to  be  born 
about  :  1450-55,  and  he  was  in  the  service  of 
the  State  as  chief  engineer  at  Milan  as  late  as 
1526,  and  cannot  have  lived  far  beyond  this — 
though  the  present  catalogue  of  the  Brera  Gallery 
places  him  as  "  born  and  died  in  Milan  ?  1455- 
1536?"  He  visited  Rome  in  the  early  part  of 
his  life,  and  in  1508  executed  a  series  of  frescoes 
in  the  Stanze  by  order  of  Julius  II.,  all  of  which 
were  afterwards  destroyed  to  make  way  for  the 
work  of  Raphael.  His  sketch-book  is  still  pre- 
served in  the  Ambrosiana  Library,  Milan,  and 
contains  numerous  architectural  drawings  made  in 
Rome  aud  Florence.  In  1513  he  is  known  to  have 
painted  fur  the  Cistercians  at  Rome  a  '  Pieta,' 
which  had  been  contracted  for  by  the  brethren 
of  the  monastery  of  Cbiaravalle,  near  Milan ;  it 
is  now  lost.  A  great  Italian  master,  he  passes 
far  beyond  the  earlier  initiative  of  Foppa,  though 
retaining  much  of  his  severity  and  accuracy  of 
technique  ;   he  rivals  the  great  Leonardo  himself 


PAINTERS  AND   ENGRAVERS. 


in  the  beauty  of  his  Virgins  of  the  Brera,  in  the 
dramatic  handling  of  liis  great  '  Cruciiixion ' ;  and 
in  the  thirty-four  panels  which  are  preserved  at 
London  and  Brighton  he  cornea  very  close  to  that 
grand  series  of  heads  and  full  figures  by  his 
teacher  Bramante  of  Urbino,  now  added  to  the 
Brera  Collection,  where  we  may  compare  the 
master  with  the  pupil,  and  find  it  a  hard  task  to 
which  to  award  the  palm.  S  B. 

SUAU,  Jean,  painter,  born  at  Toulouse  in  1758, 
was  a  pupil  of  Rivalz,  and  gained  the  first  prize  for 
painting  at  the  Toulouse  Academy.  He  afterwards 
became  Professor,  Fellow  of  the  Academy,  and 
Director  of  the  Museum.  He  died  at  Toulouse  in 
1836. 

SUAU,  PiEERE  Theodore,  painter,  the  son  of 
Jean  Suau,  was  bom  at  Toulouse.  He  studied 
with  his  father  and  with  David,  and  entered  the 
ficole  des  Beaux  Arts  in  1811.  He  painted  chiefly 
religious  subjects,  and  many  of  his  works  are 
to  be  found  in  the  churches  of  Toulouse  and 
other  towns  in  the  south  of  France.  He  died  in 
1856. 

SUAVIUS.    See  Zutmann. 

SUBLEYRAS,  Pierre,  (Hubert,)  a  French 
painter,  bom  at  Usez,  in  Languedoc,  in  1699,  was 
the  son  and  pupil  of  Mathieu  Subleyras,  an  artist 
of  little  celebrity.  When  he  was  fifteen  years  of 
age  he  was  placed  under  Antoine  Rivalz,  of  Toulouse. 
On  leaving  that  master  in  1724,  he  went  to  Paris, 
and  obtained  the  first  prize  at  the  Academy,  for 
a  'Raising  the  Brazen  Serpent.'  He  finished  his 
studies  in  Rome,  and  established  himself  there  for 
the  remainder  of  his  life.  His  altar-piece  for  St. 
Peter's,  which  he  lived  to  see  executed  in  mosaic, 
represents  St.  Basil  celebrating  Mass  before  the 
Emperor  Valens.  It  has  been  engraved  by  Do- 
menico  Cunego.  He  also  painted  portraits.  He 
married  Maria  Tibaldi,  the  miniature  painter,  in 
1739.  He  died  at  Rome  in  1749.  Two  of  his 
pictures,  one  of  them  a  '  Magdalen  washing  Christ's 
feet,'  painted  for  the  canons  of  St.  John  Lateran, 
are  in  the  Louvre  ;  two  in  the  Brera  at  Milan  ;  and 
at  Alton  Towers,  the  seat  of  the  Earl  of  Shrewsbury, 
there  is  a  'Fall  of  Simon  Magus.'  Many  others 
are  in  the  French  provincial  museums.  He  has 
left  a  few  etchings  from  his  own  designs ;  among 
them  the  following  : 

The  Brazen  Serpent. 

The  Martyrdom  of  St.  Peter. 

Mary  Magdalene  washing  the  Feet  of  Christ. 

The  Holy  Family  ;  in  an  oval. 

St.  Bruno  restoring  a  Child  to  life. 

Martyrdom  of  St.  Peter. 

A  set  of  four  Plates  from  Fontaine's  Fables. 

SUDRE,  Jean  Pierre,  painter  and  lithographer, 
was  bom  at  Alby,  September  19, 1783.  He  studied 
first  under  Suau  at  the  Toulouse  Academy,  and  in 
1802  came  to  Paris,  and  was  for  a  time  in  David's 
atelier.  Inl818  he  tookto  lithography,  and  from  that 
time  to  the  year  of  his  death  was  a  busy  and  pro- 
lific worker  in  this  branch  of  art.  He  exhibited 
with  success  at  the  Salon  from  1824  onwards.  He 
died  in  Paris  in  July,  1866. 

SUESS,  Hans,  (or  Hans  von  Culmbach,)  painter 
and  engraver  upon  wood,  was  born  at  Culmbach  in 
Franconia.  and  flourished  at  Nuremberg  in  the  eariy 
years  of  the  16th  century.  Sandrart  and  Lochner 
are  responsible  for  the  error  by  which  his  name  has 
oeen  given  as  Fuss  or  Fuess.  He  signs  his  name 
Johannes  Sves  on  a  series  of  scenes'from  the  life 
of  St.  Catharine,  in  the  church  of  the  Virgin  at 


Cracow.  He  was  a  scholar  of  Jacopo  de'  Barbari, 
and  apparently  lived  in  close  connection  with 
Diirer,  and  probably  worked  in  bis  studio.  Sketches 
by  Diirer  are  in  existence  from  which  Suess  painted. 
A  notable  instance  is  the  '  Christ  treading  the  Wine- 
press,' in  the  chapel  of  St.  George  at  Anspach, 
Diirer's  sketch  for  which  is  in  the  print-room  at 
Berlin.  It  has  also  been  surmised  that  Diirer  pro- 
vided the  sketch  for  Culmbach's  masterpiece,  the 
fioe  triptych  in  St.  Sebald's  Church  at  Nuremberg. 
Another  important  work  ia  the  'Adoration  of  the 
Kings,'  in  the  Burlin  Musemn,  which  shows  the 
influence  of  De'  Barbari.  The  series  of  eight 
scenes  from  the  history  of  SS.  Peter  and  Paul,  in 
the  Uffizi,  there  attributed  to  Schaufelin,  should 
most  probably  be  ascribed  to  this  master,  and 
other  examples  are  to  be  found  at  Schleissheim 
and  Leipzig.  Recent  researches  show  him  to  have 
died  before  Diirer,  at  latest  in  1522. 

SUEUR.     See  Le  Sceur. 

SUHR,  Christopu,  painter,  born  at  Hamburg  in 
1771,  studied  in  Salzdahlum,  and  for  three  years 
in  Italy.  Thence  he  sent  his  '  Judgment  of  Midas ' 
to  Berlin.  In  1798  he  returned  to  Hamburg,  where 
he  acquired  a  reputation  as  a  portrait  painter.  He 
also  painted  humorous  subjects,  which  were  en- 
graved by  his  brother  Cornelius,  with  whom  he 
painted  the  scenes  for  an  '  optical  cosmorama,' 
exhibited  by  Cornelius  in  most  of  the  countries  of 
Europe.     He  died  at  Hamburg  in  1842. 

SUHRLANDT,  Johann  Heinrich,  painter,  bom 
at  Schwerin  in  1742.  He  painted  portraits  and 
historical  pictures,  and  died  in  1827. 

SUHRLANDT,  Rudolph  Friedrich  Karl, 
painter,  bom  at  Ludwigslnst  in  1781,  son  and  pupil 
of  Johann  Heinrich  Suhrlandt.  He  studied  in 
Dresden  and  Vienna,  and  in  1808  went  to  Rome, 
where  he  painted  a  'Theseus  and  Ariadne.'  From 
1812-15  he  was  in  Naples,  painting  portraits.  On 
his  return  to  Germany  he  was  appointed  painter 
to  the  court  of  Mecklenburg.  Several  altar-pieces 
by  him  are  in  the  churches  of  Ludwigslust  and  the 
neighbourhood.  He  died  at  Schwerin  in  1862. 
His  son,  Karl,  is  an  animal  painter. 

SUIJDERHOEF,  Jonas,  engraver,  was  born  at 
Leyden  in  1613  (1600),  and  studied  under  Cornelius 
Visscher  and  Soutman.  He  died  in  1669.  His 
plates  are  numerous  and  excellent ;  the  following 
are  among  the  best : 

The  Emperor  Maximilian  ;  after  Lucas  van  Leyden. 

The  Empress  Maria,  his  consort;  after  the  same. 

Maximilian,  Archdulie  of  Austria  ;  after  Rubens. 

Pliilip  III.,  King  of  Spain  ;  after  the  same. 

Albert,  Archduke  of  Austria,  Governor  of  the  Nether- 
lands ;  after  the  same. 

Isabella  Clara  Eugenia,  Infanta  of  Spain,  his  consort ; 
after  the  sajne. 

Charles  I.,  Kiug  of  England  ;  after  Vandyck. 

Henrietta  Maria,  his  Queen  ;  after  the  same. 

Framjois  de  Monqade,  Comte  d'Ossonne  ;  after  the  same. 

John,  Duke  of  Burgundy  ;  after  P.  Soutman. 

Charles,  Duke  of  Burgundy  ;  after  the  same. 

Aldus  Swalmius  (The  old  Man  with  the  Beard)  ;  after 
Rembrandt. 

Rene  Descartes ;  after  F.  Hals. 

Anna  Maria  Schurmann  ;  after  J.  Lievens. 

The  Fall  of  the  Rebel  Angels ;  after  Rubens. 

The  Virgin  embracing  the  infant  Jesus  ;  after  the  same. 

A  Bacchanalian  subject ;  after  the  same. 

A  Drunken  Bacchus,  supported  by  a  Satyr  and  a  Moor  ; 
after  the  same. 

The  Peace  of  Munster ;  after  Terburg's  picture  in  the 
National  Gallery  ;  one  of  his  finest  plates. 

The  Burgomaster  of  Amsterdam  in  Council ;  after 
Thomas  de  Keyser. 

143 


A   BIOGRAPHICAL  DICTIONARY  OF 


Three  old  'Women  at  table  ;  after  Oslade. 

Three  Boors,  one  playing  on  the  Violin  ;  after  the  same. 

The  Tric-trac  players  ;  after  thf  same. 

Dutch  Boors  fighting  with  Knives  ;  after  the  same. 

Dutch  Boors  dancing,  called  the  Ball ;  after  the  same. 

SUISSE,  Le.     See  Le  Sdisse. 

SULLIVAN,  LnKE,  a  native  of  Ireland,  came 
to  London  when  young  and  studied  under  Thomas 
Major.  He  practised  miniature  painting  as  well 
as  engraving,  and  was  well  employed.  As  an 
engraver,  he  was  chiefly  engaged  on  plates  after 
Hogarth,  and  sometimes  worked  conjointly  with 
that  artist.  The  following  prints  by  him  may  be 
named  : 

The  infant  Moses  presented  by  his  Mother  to  the 
Daughter  of  Pharaoh ;  after  Hogarth ;  W.  Hogarth, 
et  L.  Sulivan,  sc.     1752. 

Paul  before  Felix  ;  after  the  same  ;  L.  Sulivan,  sc.  1752. 

The  March  to  Finchley  ;  after  the  same.     1761. 

The  Temptation  of  St.  Anthony  ;  after  Teniers. 

A  set  of  six  Views  of  Country-seats. 

SULLY,  Thomas,  painter,  was  born  at  Homcastle, 
in  Lincolnshire,  in  1783.  At  nine  years  old  he  went 
with  his  parents,  who  were  actors,  to  America, 
studied  in  Charlestown,  and  in  1813  set  up  as  a 
portrait  painter  in  Richmond.  He  afterwards 
returned  to  Europe,  studied  under  West  and 
Lawrence,  and  painted  a  portrait  of  Queen  Victoria, 
which  now  belongs  to  the  St.  George's  Society  of 
Philadelphia.  In  1838  he  settled  in  Philadelphia, 
where  he  painted  portraits  of  Lafayette,  Jefferson, 
and  Washington,  and  of  famous  actors ;  among 
them  T.  P.  Cooke  and  Fanny  Kemble.  He  also 
designed  some  illustrations  to  Shakespeare,  and 
his  '  Washington  Crossing  the  Delaware  '  is  in  the 
Boston  Museum.  He  died  in  Philadelphia  in 
1872. 

SUMMERFIELD,  John,  engraver,  was  one  of 
Bartolozzi's  best  pupils.  His  finest  work  was  an 
excellent  plate  of  '  Rubens  and  his  Wife,'  after 
the  Flemish  master,  engraved  in  1800,  for  which 
he  received  the  gold  medal  of  the  Society  of  Arts. 
Another  good  plate  was  'The  Sleeping  Boy,'  after 
Reynolds.  In  spite  of  the  high  quality  of  his  work, 
he  found  it  impossible  to  make  a  living,  and  is  said 
to  have  been  reduced  to  great  poverty.  Redgrave 
gives  the  date  of  his  death  as  1817,  but  he  is 
believed  to  have  lived  much  longer. 

SUMPTER,  H ,  an  English  painter  of  still- 
life,  who  exhibited  regularly  at  the  Academy,  the 
British  Institution,  and  the  gallery  of  the  Society 
of  British  Artists,  between  1816  and  1847. 

SUNDBERG,  Christine,  Swedish  portrait  and 
genre  painter  ;  exhibited  mostly  at  the  Sulon.  She 
died  young  in  1892. 

SUNDER,  Lucas.     See  Cranach. 

SUNMAN,  WiLLEM,  (or  SONMANS,)  a  Dutch 
portrait  painter,  who  came  to  England  in  the 
reign  of  Charles  II.,  and  was  much  employed 
after  the  death  of  Sir  Peter  Lely.  Walpole  says 
that,  being  less  successful  than  liiley  in  a  portrait 
of  the  King,  he  retired  to  Oxford,  and  was  there 
employed  to  paint  portraits  of  founders.  He  died 
in  London  about  the  year  1707.  In  Wadham 
College  there  is  an  excellent  portrait  inscribed  : 
Mary  George,  .^tatis  120,  Oul.  Sonnuiiis,  pinxit 
et  derlit. 

SONMANS,  William,  perhaps  a  son  of  the  last 
named,  was  employed  in  London  as  a  draughtsman 
early  in  the  18th  century.  The  drawings  for 
Morrison's  '  Historia  Plantarum,'  1715,  are  by  him. 

SUPPA,  Andrea,  painter,  born  at  Messina  in 

144 


1628,  studied  under  B.  Tricomi  and  Casembrot.  He 
painted  very  minutely-finislied  works  in  oil,  and 
frescoes  for  the  cliurches  and  convents  of  his 
native  city,  among  them  a  'Trinity'  in  the  chapel 
of  St.  Gregory,  'The  Acts  of  St.  Paul'  in  San 
Paolo  delle  Monache,  and  'The  Assumption'  at 
the  Nunziata  de'  Teatini.     He  died  in  1671. 

SURAT,  Abel,  French  etcher,  is  known  by  his 
plates  after  portraits  and  genre  pictures.  He  died 
in  1890,  at  the  age  of  sixty -one. 

SURGHI,  Giovanni  Francesco,  called  Dielai, 
a  native  of  Ferrara,  who  flourished  about  the  year 
1543.  He  was  a  disciple  of  the  Dossi,  whom  he 
assisted  in  several  of  their  principal  works  in  the 
palaces  of  Belriguardo,  Giovecca,  and  Cepario,  at 
Ferrara.  He  painted  history,  and  distinguished 
himself  also  as  a  painter  of  grotteschi  and  land- 
scapes. He  died  in  1590.  The  Costahili  Gallery 
has  an  'Adoration  of  tlie  Shepherds'  by  him. 

SURUGUE,  Louis,  a  French  engraver,  born  in 
Paris  in  1695,  was  instructed  in  design  and  en- 
graving by  Bernard  Picart,  whose  style  he  adopted 
with  success,  and,  like  his  instructor,  united  the 
point  with  the  graver  in  a  very  agreeable  manner. 
The  effect  of  his  prints  is  pleasing,  and  he  would 
have  reached  an  eminent  rank  among  the  engravers 
of  his  country  if  his  drawing  had  been  more  cor- 
rect. He  was  a  member  of  the  Academy  of  Paris, 
where  he  died  in  1769.  We  have,  among  others, 
the  following  prints  by  him : 

Portrait  of  Louis  de  Boullongne,  painter  to  the  King ; 

after  Mathieu. 
St.  Margaret ;  after  Raphael ;  for  the  Crozat  collection. 
St.  Jerome  intheDesert;  after  Bal.  de  iSiena  ;  engraved 

by  JV.  Chasteau,  and  hnisheJ  by  L.  Suruyue ;  same 

collection. 
Christ  curing  the  Lepers;  afle^  Girol.  Genga;  for  the 

same  collection. 
The  Sacrifice  of  Isaac  ;  after  A.  del  Sarto. 
The  Birth  of  the  Virgin  ;  after  P.  da  Cortona. 
Abraham  sending  away  Hagar  ;  after  Le  Sueur. 
Venus  nursing  Love  ;  after  Rubens. 
A  Flemish  Merry-making ;  after  Teniers. 
The  Fortune-teller  ;  after  the  same. 
Clytia ;  after  Coypel. 
Last  Supper ;  after  Ruhens. 
Susanna ;  after  Verkolje. 

SURUGUE,  Pierre  Louis,  the  son  of  Louis 
Surugue,  born  in  Paris  in  1716,  was  taught  the 
art  of  engraving  by  his  father.  His  style,  though 
inferior,  resembles  that  of  his  father.  He  became 
a  member  of  the  Academy  in  1747.  Among  his 
plates  we  may  name  the  following  : 

RenS  Fremin,  Director  of  the  Academy  ;  after  Latour. 
Simon  Guillain,  Sculptor  to  the  King  ;  after  A'.  Coypel. 
The  Nativity  ;  after  Correggio  ('  La  Notte  '). 
The  Virgin  and  Child,  accompanied  by  St.  Jerome  and 

two  other  saints  ;  after  Guido. 
The  Judgment  of  Paris;  after  Hendrik  Goltzius. 

He  also  engraved  after  Charles  Coypel,  Pater, 
Chardin,  Teniers,  and  other  masters.  He  died  in 
1772. 

SUSEMIHL,  Johann  Konrad,  draughtsman  and 
engraver,  was  born  at  Rainrod  in  Hesse  in  1767. 
After  studying  for  a  time  at  the  Diisseldorf 
Academy,  he  went  to  Darmstadt,  where  he  made  a 
reputation  by  his  plates  of  birds,  and,  in  1800,  was 
appointed  engraver  to  the  court.  He  engraved  the 
plates  for  Drumpelmann  and  Friebe's  work  on  the 
'  Zoology  of  the  Baltic  Provinces,'  and  jointly  with 
his  son  and  daughter,  those  for  Moller's  '  Monu- 
ments of  German  Architecture.'  In  1839  he  pub- 
lished an  illustrated  work  on  the  '  Birds  of  Europe.' 


PAINTERS  AND  ENGRAVERS. 


His  brother  Johann  Theodor,  bom  1773,  was  a 
pupil  of  Pforr,  and  engraved  zoological  and  or- 
nithological plates.  He  practised  for  many  years 
in  Paris. 

SUSENIER,  Abraham,  bom  at  Leiden,  c.  1620  ; 
married  at  Dordrecht,  January  28,  1646,  and  was 
admitted  into  the  Guild  of  St.  Luke  there. 
Berlin.  Gallery.     Still-life,  with  fish.     1661. 

Gotha.  Museum.    A  Vanitas.     1664  (signed). 

W.  H.J.  W. 

SUSTERMANN,  Lambert.  See  Lombard,  Lam- 
bert. 

SUSTRIS,  or  Zustris,  Frederik,  called  Fede- 
RiGO  Dl  Lamberto,  and  Del  Pavonano,  born  at 
Amsterdam  in  1524,  was  the  son  of  Lambert 
Sustris,  and,  like  his  father,  practised  chiefly  in 
Italy,  and  married  there.  He  settled  in  Florence, 
and  was  one  of  the  painters  associated  with  Vasari 
in  adorning  the  catafalque  of  Michelangelo.  He 
died  at  Florence  in  1591. 

SUSTRIS,  Lambert,  (SUSTER,  Zostris,)  was 
a  native  of  Germany,  and  flourished  about  the  end 
of  the  16th  century.  He  was  first  instructed  in 
art  by  Christopher  Schwartz,  of  Munich ;  but  he 
afterwards  travelled  to  Italy,  where  he  became 
a  follower  of  Titian,  and  an  unsuccessful  imitator 
of  that  master's  colour,  though  he  still  retained 
the  dry  Gothic  design.  In  the  Louvre  there  is  a 
picture  by  Sustris,  representing  Venus  and  Cupid, 
with  Mars  in  the  background.  Sustris,  Suavius,  or 
Sustermans,  and  Lambert  Lombard,  have  been 
continually  welded  into  a  single  individual  by 
biographers,  and  otherwise  confused. 

SUTCLIFFE,  Thomas,  still-life  and  landscape 
painter,  was  born  in  Yorkshire.  Ho  studied  ardently 
from  nature,  and  in  his  works  showed  great  artistic 
talent.  He  first  exhibited  at  the  Academy  in  1856. 
Shortly  afterwards  he  became  an  associate  of  the 
Institute  of  Painters  in  Water-Colours,  and  was 
thenceforth  a  constant  contributor  of  landscapes  to 
the  Society's  exhibitions.  He  died  at  Headingley, 
near  Leeds,  in  1871. 

SUTHERLAND,  Thomas,  engraver,  was  bom 
about  1785,  and  practised  in  London,  producing 
chiefly  plates  in  aquatint  of  hunting  scenes,  views, 
&c.  One  of  his  best  known  plates  was  '  The  Pea- 
cock Tavern,  Islington,'  from  which  the  northern 
mail  used  to  start. 

SUTTER,  Joseph,  painter,  was  born  at  Linz,  in 
Upper  Austria,  in  1782.  He  studied  for  a  time 
under  Fiiger  at  the  Vienna  Academy,  and  later  at 
Rome.  He  afterwards  worked  for  a  time  at  Munich, 
where  he  made  several  designs  for  frescoes  for  the 
Basilica,  two  of  which  he  himself  carried  out.  One 
was  painted  by  his  son  Daniel. 

SUTTERMANS,  Jusths,  (Sustermans,)  was'bom 
at  Antwerp  in  1597,  and  was  a  scholar  of  Willem 
de  Vos  in  that  city  ;  and  of  Franfois  Pourbus  the 
second,  in  Paris.  He  travelled  through  Germany 
to  Venice,  where  he  passed  some  time,  and  after- 
wards went  to  Florence,  where  his  abilities  recom- 
mended him  to  the  notice  of  Cosmo  II.,  Grand 
Duke  of  Tuscany,  who  appointed  him  his  painter, 
and  in  whose  service  ho  remained  until  the  death 
of  that  prince,  when  he  was  favoured  with  the 
protection  of  Cosmo  III.  In  1623  he  was  sum- 
moned to  Vienna  to  paint  the  emperor  and  empress, 
and  returned  to  Florence  with  a  patent  of  nobility. 
Suttermans  painted  history  and  portraits,  and  in 
the  latter  was  little  inferior  to  Vandyck.  When 
Vandyck  visited  Florence,  he  expressed  the  greatest 
admiration  of  the  works  of  Suttermans,  and  painted 

VOL.  V.  L 


his  portrait,  etching  it  afterwards  among  his  famous 
'icones.'  His  historical  pictures  are  well  com- 
posed, and  their  design  correct.  One  of  his  most 
important  pictures  is  in  the  Gallery  at  Florence  ; 
it  represents  the  Florentine  nobility  swearing  fealty 
to  Ferdinand  II.  Into  it  he  has  introduced  the 
portraits  of  the  most  distinguished  personages  of 
the  time.  He  died  in  Florence  in  1681.  Among 
his  works  we  may  name : 
Edinburgh.  Ifat.  Gal.  Portrait  of  Spinola. 
Florence.  C[ffi:i.    Portrait  of  Galileo. 

„  „  A  Magdalen. 

„  „  Puliciani    and    his    wife    {two 

pictures). 

„  „  His  own  portrait. 

„  Pitti  Gal.    The  Crown  Prince  of  Denmark. 

„  „  Portrait  of  Ferdinand  (II.)  de' 

Medici. 

„  „  ,,  Vittoria  della  Ro- 

vere. 

.,  Cordni  Col.  „         Cardinal  Cor.sini. 

„  „  „  Mary  Magdalen  of 

Austria,  wife  of 
Ccsmo    (II.)   de' 
Medici. 
Lucia.  Accademia.     Portrait  of  a  Young  Woman. 

„  „  „         Cardinal    Leopoldo 

de*  Medici. 
Venice.  Accademia.     Catherine  Comaro  ceding  Cy- 

prus to  Venice. 
Vienna.  Gallery.    Portrait  of    the   Archduchess 

Claudia. 
SUVfiE,  Joseph  BenoIt,  an  historical  painter, 
born  at  Bruges  in  1743,  was  taught  drawing  by 
Matthias  de  Visch.  He  afterwards  entered  the 
Academy  of  St.  Luke,  in  Paris,  and  in  1766,  was 
appointed  superintendent  of  the  free  school  of 
design.  In  1771  he  won  the  prize  of  Rome.  After 
working  for  a  year  in  Rome  he  visited  Naples, 
Sicily,  and  Malta,  deferring  his  return  to  Paris 
until  1778.  In  that  year  he  exhibited  the  results 
of  his  work  in  Italy,  and  soon  after  became  a 
member  of  the  Academy.  At  the  outbreak  of  the 
French  Revolution  he  was  appointed  director  of 
the  Academy  at  Rome,  but  incurring  the  suspicions 
of  the  Jacobins,  he  was  thrown  into  prison,  where 
he  painted  portraits  of  several  of  his  fellow-captives, 
among  them  that  of  Andr6  Ch^nier.  On  the  fall  of 
Robespierre  he  was  released,  but  he  did  not  take  up 
his  appointment  till  1801,  when,  under  the  auspices 
of  Napoleon,  he  went  to  fulfil  its  functions.  He  re- 
organized the  French  school  at  Rome,  and  removed 
it  from  the  Palazzo  Mancini  to  the  Villa  Medici. 
He  occupied  the  situation  for  about  six  years,  and 
died  suddenly  on  the  9th  of  February,  1807.  His 
pictures  are  numerous.  His  wife  was  also  a  painter. 
SUYDAM,  James  A.,  painter,  was  bom  in  New 
York  in  1817,  and  was  the  pupil  of  the  American 
artist  M.  C.  Kellogg,  with  whom  he  travelled 
through  Greece  and  "Turkey,  and  visited  the  East. 
On  his  return  to  America  he  became  well  known 
as  a  painter  of'  mountain  scenery  and  coast  views. 
He  took  a  very  prominent  part  in  the  foundation 
and  organization  of  the  Academy  at  New  York, 
and  was  appointed  treasurer,  which  post  he  held 
till  his  death.  The  best  of  his  pictures  are  coast 
scenes  and  views  of  mountain  scenery,  in  the 
latter  of  which  he  was  specially  successful,  and 
his  series  depicting  the  White  Mountains  are 
amongst  the  greatest  of  his  paintings.  A  well- 
known  picture  represents  the  '  New  London  Light- 
house by  evening  light,'  and  another  a  view  on 
'  Long  Island  with  harvesting  going  on.'  His '  Hook 
Mountain  on  the  Hudson'  created  some  sensation 
when  first  exhibited,  and  was  at  once  purchased  for 

145 


A  BIOGRAPHICAL  DICTIONARY  OF 


a  notable  collection.  He  died  in  1865,  bequeathing 
a  large  sum  of  money,  and  the  pictures  known  as 
the  '  Suydam  Collection,'  to  the  Academy. 

SDYDEKHOEF.     See  Suuderhoef. 

SVERTSOHKOF,  Nicolas  YSgorovitsch,  Rus- 
sian painter;  born  March  6, 1817,  at  St.  Petersburj;: ; 
he  was  self-taught,  though  for  purposes  of  study 
he  visited  Prance,  Germany,  and  the  Netherlands. 
His  fame  in  Russia  dates  from  1852,  when  the 
Academy  of  Fine  Arts  created  him  a  member. 
His  tirst  exhibit  in  Paris  was  in  1859,  and  Napoleon 
III.  bought  one  of  his  pictures, '  Return  from  Bear- 
Hunting,'  in  1863,  and  awarded  him  the  decoration 
of  the  Legion  of  Honour.  His  subjects  dealt 
exclusively  with  hunting,  and  in  this  he  had  no 
rival  among  his  fellow-countrymen.  He  died  at 
Tsarsko6-S61o,  June  25,  1898.  His  most  note- 
worthy pictures  are  'The  Kabita  in  the  Snow,' 
'  The  Village  Wedding,' '  Travellers  Astray,' '  Land- 
scape in  Winter,'  'A  Horse  Fair  in  the  Interior  of 
Russia,'  'Station  for  Post  Horses,'  'A  Child  fallen 
from  a  Sleigh  during  the  Ni,i;ht  found  safe  and 
well  in  the  Morning  in  the  midst  of  a  drive  of 
Wolves,'  '  Russian  Travellers  in  Sleighs  meeting 
in  the  Midst  of  the  Forests,'  'The  Wolf  Hunt,' 
'  The  Bear  Hunt,' '  Morning  in  the  Snow,'"'  The  Big 
Fire  in  the  Forest,'  '  Street  Scenes  in  Petersburg.' 

SVIEDOMSKI,  Pavel  Alexandrovich.  This 
distinguished  Russian  painter  was  born  at  St. 
Petersburg,  but  his  family  estate  was  in  the 
province  of  Perm,  near  the  frontier  of  Siberia 
and  the  Ural  Mountains.  The  termination  ski  or 
ski/  has  a  Polish  ring,  and  the  Sviedomskis  may 
have  been  originally  of  Polish  origin,  but  they 
were  thoroughbred  Russians.  The  brothers  Pavel 
and  Alexander  (who  is  still  alive)  were  almost 
inseparable,  and  commenced  their  educations  in 
the  School  of  Mines  at  St.  Petersburg.  As  their 
ancestral  property  was  situated  in  the  mining 
region  of  Russia,  it  is  possible  that  the  boys  were 
sent  to  the  School  of  Mines  in  that  connection. 
On  the  death  of  their  father,  the  brothers,  who 
only  spent  three  years  in  St.  Petersburg,  were 
taken  to  Munich.  Then  it  was  that  they  decided 
to  make  painting  their  profession,  and  entered  the 
Academy  at  Diisseldorf,  passing  from  there  into 
the  studio  of  Munkacsy,  and  then  to  Cassel. 
Later  on  the  brothers  moved  to  Rome,  where 
the  Eternal  City  exercised  a  great  influence  on 
their  imagination.  At  that  time  the  various 
foreign  artists,  especially  the  Slavs,  did  not  mix 
much  with  each  other.  Semiradsky,  and  most  of 
the  other  Poles,  kept  aloof  from  one  another,  with 
the  exception  perhaps  of  Kotarbinsky,  who  was  of 
a  gay  disposition.  The  Sviedomskis'  studio  was  near 
the  Piazza  d'Espagna.  Bruni  had  there  painted 
his  '  Brazen  Serpent,'  and  Semiradsky  had  at  one 
time  occupied  the  same  atelier.  Pavel  Sviedomski 
was  an  historical  and  genre  painter,  &c.  Classical 
antiquity  attracted  him.  In  this  connection  his 
chief  pictures  were :  '  Julia  in  Exile,' '  Bacchanalia,' 
■*  Medusa,'  '  The  Sacrifice.'  These  were  exhibited 
in  the  Russian  Academy,  and  attracted  attention, 
as  well  as  his  historical  subjects  :  '  Moscow  on 
Fire,'  'A  Scene  from  the  French  Revolution  of 
1789,'  &c.  He  knew  how  to  seize  the  "  dramatic 
•moment";  his  pictures  possess  life  and  motion. 
In  the  latter  years  of  his  life  he  exhibited  mostly 
in  the  Roman  Society,  Cultore  delle  belle  Arti,  witli 
invariable  success.  His  pictures  sold  well  abroad, 
and  therefore  he  did  not  send  them  all  to  Russia. 
''The  Eve  of  St.  John's  Day,'  for  example,  was 

146 


purchased  by  an  American.  Sviedomski  was  an 
industrious  man,  with  firm  convictions  in  questions 
of  art,  but  occasionally  beset  with  serious  doubts 
about  the  real  use  of  art,  at  which  times  he  fell 
into  a  melancholy  condition.  In  Biblical  subjects 
he  was  not  so  successful,  and  when  working  for 
the  Cathedral  of  St.  Vladimir  at  Kiev — in  con- 
junction with  Vasnezov,  Nesterov  and  Kotarbinsky, 
he  was  probably  less  orthodox  in  his  religious 
views  than  the  two  former  artists.  The  millionaire 
Tereschenko  employed  him  to  decorate  a  church 
at  Gluchov.  Sviedomski's  portrait  of  Mr.  Daragan 
and  the  nude  figure  of  a  woman  show  his  skill  in 
portraying  the  human  form.  His  last  picture  was 
'Lady  Hamilton  dressing  before  her  Execution.' 
It  is  full  size  and  was  nearly  finished.  The  artist 
suffered  towards  the  end  of  his  life  from  consump- 
tion, which  the  Riviera  and  Davos  could  not 
alleviate,  and  he  died  in  IDO-l.  The  majority 
of  his  pictures  are  in  private  hands,  but  some 
specimens  may  be  seen  in  the  Museum  of 
Alexander  III.  and  in  the  Tretiakoff  Gallery, 
as  well  as  in  the  churches  at  Kiev  and  Gluchov, 
and  a  school  at  Warsaw.  E  A  C. 

SVIESZEWSKI,  Alexander  Peter,  Polish 
painter;  born  January  31,  1839,  at  Warsaw; 
studied  under  Breslauer  at  the  Warsaw  Art  School 
from  1858  to  1863,  and  subsequently  with  Bam- 
berger at  Munich.  He  also  worked  in  Rome, 
France,  and  Switzerland.  He  settled  at  Munich 
as  a  landscape  painter,  where  he  died,  December 
5,  1895. 

SWAGERS,  Charles,  the  son  of  Frans  Swagers, 
painter,  was  born  in  1792.  He  was  professor  of 
painting  at  Dieppe  in  1840.  His  son  fioouARD  was 
a  painter  and  lithographer,  and  practised  in  Paris. 

SWAGERS,  Frans,  a  landscape  and  marine 
painter,  born  at  Utrecht  in  1756,  received  his  art 
education  in  Holland,  but  afterwards  he  went 
to  Paris,  and  resided  there  till  his  death.  His 
pictures  consist  chiefly  of  Dutch  views,  and  marine 
subjects  off  the  coast.  From  his  long  residence 
in  Paris,  his  pictures  exhibit  a  mixture  of  the 
Dutch  and  French  schools.  He  died  in  Paris  in 
1836.  His  wife,  Elisa,  ne'e  Meri,  was  a  miniature 
painter  and  professor  of  drawing  at  Ecouen.  She 
died  in  1837.  Her  daughter  and  pupil,  Caroline, 
practised  in  Paris,  and  exhibited  frequently  at  the 
Salon  from  1831  onwards. 

SWAIN,  Charles.  This  poet  and  song  writer 
was  engaged  in  the  mercantile  pursuit  of  engraving 
and  lithography,  and  was  no  mean  expert  as  an 
engraver  himself.  He  was  a  Manchester  man, 
born  in  1801,  and  he  died  in  the  same  city  in  1874. 
He  will  be  remembered  for  his  poems,  and  perhaps 
especially  for  his  songs,  '  When  the  Heart  is 
Young,'  and  'Tapping  at  the  Window.'  His  en- 
graving work  was  only  done  for  his  own  amuse- 
ment, and  in  order  that  he  might  instruct  his 
operatives  in  the  method  in  which  he  desired 
them  to  work. 

SWAINE,  Francis,  an  English  marine  painter, 
who  practised  in  London  from  about  1760  to 
1782.  He  painted  small  sea-pieces  in  the  style  of 
Willem  Vandevelde,  and  moonlight  scenes.  He 
was  a  member  of  the  Free  Society  in  1763,  and 
gained  medals  from  the  Society  of  Arta  in  1764 
and  1765.  He  was  chiefly  employed  by  the 
dealers,  who  sold  his  copies  of  Vandevelde  as 
English  Vandevddes.  He  died  at  Chelsea  in  1782. 
One  Monamy  Swaine,  probably  his  son,  painted 
the  same  class  of  subjects. 


PAINTERS  AND  ENGRAVERS. 


SWAINE,  John,  engraver,  was  born  at  Stanwell, 
Middlesex,  in  1775.  He  was  a  pupil  of  Jacob 
Schnebellie,  and  later  of  Barak  Langraate.  He 
worked  chiefly  on  antiquarian  subjects,  and  pro- 
duced some  well-executed  facsimiles  of  old  por- 
traits. He  died  in  London  in  1860.  His  son, 
John  Barak  Swaine,  was  also  educated  in  his 
father's  art,  but  died  in  1828,  at  the  age  of  twenty- 

SWANENBURCH,  Isaac  Klaassen  van,  called 
NicOLAi,  painter,  was  bom  at  Leyden  in  1534. 
He  was  the  master  of  0.  Van  Veen  and  of  Jan 
Van  Goyen,  and  in  1596  was  burgomaster  of  Ley- 
den. His  only  known  works  are  designs  for  the 
painted  windows  for  the  church  of  St.  John  at 
Gouda,  and  for  the  Town  Hall  at  Leyden.  He 
died  in  1614.  His  three  sons,  Jakob,  Willem,  and 
Nicolas,  were  also  painters. 

SWANENBURCH,  Jakob  Isaaksz  van,  son  of 
the  last-named,  is  chiefly  known  as  the  first  master 
of  Rembrandt,  to  whom  he  was  probably  related. 
He  was  born  at  Leyden,  apparently  about  1580. 
After  having  learnt  the  elements  of  art  from  his 
father,  he  travelled  in  Italy,  and,  in  Naples,  married 
Margherita  Cordona,  by  whom  he  had  four  children. 
He  returned  to  Leyden  in  1617,  and  died  there  on 
the  17th  of  October,  1638.  The  Copenhagen 
Gallery  has  a  picture  signed  Giacomo  Swanen- 
burch,  and  dated  1628,  representing  the  Pope 
crossing  the  square  of  St.  Peter's  at  Rome  in  pro- 
cession ;  in  the  Court  House  at  Leyden  there  is  a 
'  Pharaoh  crossing  the  Red  Sea.'  See  Vosmaer's 
'Rembrandt,'  p.  33. 

SWANENBURCH,  Willem  van,  brother  of 
Jakob,  was  a  Dutch  engraver.  He  was  born  at 
Leyden  about  the  year  1581.  His  style  of  en- 
graving is  bold,  and  his  prints  bear  some  resem- 
blance to  those  of  HendrikGoltzius.  He  occasionally 
painted  a  picture,  but  it  is  as  a  master  of  the  burin 
that  he  demands  notice.  He  had  a  great  command 
of  the  graver,  but  his  drawing  is  not  correct.  The 
following  are  among  his  more  esteemed  plates : 

Esau  selling  his  Birthright  to  Jacob ;  after  P.  Moreelie. 
The  Resurrection  ;    after  the  same. 
The  Adoration  of  the  Shepherds  ;  after  Ab.  Bloemaert. 
The  six  Penitents  ;    after  the  same. 
St.  Jerome  in  the  Desert ;  after  the  same. 
St.  Peter  penitent ;  after  the  same. 
Lot  and  his  Daughters  ;  after  Rubens. 
Christ  with  the  Disciples  at  Emmaus  ;  after  the  same. 
The  Judgment  of  Paris  ;  after  M.  Mierevelt. 
Perseus  and  Andromeda ;  after  J.  Saenredam. 
A  Village  Festival ;  after  D.  Vinckehooms. 
A  set  of  fourteen  Plates,  entitled  The  Throne  of  Justict ; 
after  Joachim  Viteivaal,     1605, 1606. 

He  died  at  Leyden,  the  15th  of  August,  1612. 

SWANEVELT,  Herman,  landscape  painter  and 
engraver,  was  born  at  Woerden  in  1620.  He  is 
said  to  have  been  ascholar  of  Gerard  Douw,  but  he 
left  that  master  and  travelled  to  Italy,  while  still 
very  young.  On  his  arrival  at  Rome,  he  was  in- 
defatigable in  his  studies,  studious  and  solitary 
promenades  procuring  him  the  nickname  of  'the 
Hermit.'  In  1640  he  became  the  disciple  of  Claude 
Lorraine,  with  whose  help  he  soon  became  one  of 
the  most  celebrated  painters  of  landscape  of  his 
time.  His  better  works  are  not  seldom  ascribed  to 
his  master.  A  '  Classic  Landscape '  in  the  Berlin 
Museum  is  probably  a  case  in  point.  The  date  of 
his  death  is  doubtful.  According  to  the  registers  of 
the  French  Academy,  it  took  place  in  1655,  but 
the  year  1690  has  also  been  given,  while  Passeri 
says  he  died  in  Venice  in  1659.     Works: 


Copenhagen.       Gullery.     Summer  Evening. 
Dresden.  Gallery.     Kiver  Landscape. 

Florence.  Uffid.    Landscape. 

Hague.  Museum.     Italian  Landscape. 

Hampton  Court.  Landscape    with   Cattle    (ff'S 

masterpiece.) 
^_  Venus    presenting    Cupid    to 

Diana. 
^,  Venus    and     Cupid    escaping 

from  Diana. 
London.  Bridgewater  Ho.     Landscape,  with  Figures,  load- 
ing a  Ship. 
„  Ihiboich  Gall.     Three  Landscapes. 

Herman  Swanevelt  has  also  left  the  following 
etchings:  they  are  better,  on  the  whole,  than  his 
pictures  : 

A  set  of  eighteen  small  oval  plates,  representing  Views 

in  Italy,  and  rural  subjects  ;  entitled  rarice  campestri 

fantasiie  a  Hermano  Swanevelt, invent,  et  in  lucem  editce. 

A  set  of   thirteen   Italian   Landscapes,  including  the 

title  ;  dedicated  to  Gideon  Tallemi-ut. 
A  set  of  twelve  Views  in  and  near  Home  ;  entitled  Di- 

verscs  Vues  dedans  et  dehors  de  Rome,  S^-c.     1653. 
A  set  of  seven  Plates  of  Animals,  with  landscape  back- 
grounds, and  figures. 
A  set  of  four  Arcadian  Landscapes,  with  Nymphs  and 

Satyrs. 
A  set  of  four  Landscapes  with  Biblical  subjects. 
A  set  of  four  Mountainous  Landscapes,  with  different 

representations  of  the  Flight  into  Egypt. 
A  set  of  Four  Views  of  the  Apennines,  with  pastoral 

subjects. 
A  set  of  six  grand  Landscapes,  with  the  history  of  Venus 

and  Adonis. 
A  set  of  four  Landscapes,  with  Mary  Magdalene  and 
different  Saints. 

SWARBRECK,  Samdel  Dokinfield,  painter 
and  lithographer,  published  in  1839  '  Sketches  in 
Scotland,'  a  set  of  twenty-six  tinted  lithographs. 
From  1852  to  1863  he  resided  in  London  and  ex- 
hibited landscape  paintings,  mainly  architectural, 
eight  at  the  Royal  Academy,  fourteen  at  the 
British  Institution,  and  four  at  Suffolk  Street. 
Among  his  favourite  subjects  were  Rosslyn  Chapel, 
and  the  Cathedral  and  "rows'"  at  Chester.  His 
first  exhibit  at  the  Academy  was  'The  Ancient 
Common  Hall  Entry,  Chester,'  in  1852  ;  and  among 
his  principal  pictures  were  the  '  Interior  of  Rosslyti 
Chapel '  (1853),  '  Watergate  Row,  Chester'  (1854), 
'Interior,  Haddon '  (1855),  and  'Interior  of  an 
Ancient  Hall  in  Norwich  '  (1862).  M;  H. 

SWART,  Jan,  (Schwartz,)  painter  and  engraver, 
was  born  at  Groeningen  in  1469.  It  has  been 
stated  that  he  was  a  pupil  of  Scorel's,  which  seems 
improbable,  as  he  was  considerably  the  elder.  He 
spent  some  time  in  Venice,  and  afterwards  settled 
at  Gouda,  where  he  died  in  1535.  A  fine  wood- 
cut, 'Christ  preaching  from  the  Ship,'  bears  his 
monogram,  and  shows  great  similarity  in  style  to 
the  'St.  John  Baptist'  in  the  Pinacotliek,  and  the 
■  Adoration  of  the  Kings'  in  the  Antwerp  Museum, 
ascribed  to  him.  Waagen  has  described  an  'Adora- 
tion of  the  Kings,'  in  the  possession  of  Queen 
Victoria,  as  a  typical  example  of  the  master. 

SWEBACH  DE  FONTAINE,  Jacqdes  FRANgois 
Joseph,  a  prolific  painter  of  battles,  marches,  en- 
campments, and  landscapes,  was  born  at  Metz  in 
1769.  Many  of  his  pictures  were  exhibited  in  Paris, 
where  he  chiefly  resided.  He  was  in  England,  too, 
for  a  short  time.  In  1814  the  Emperor  of  Russia 
made  him  director  of  his  Porcelain  Works,  but  he 
was  unable  to  stand  the  climate,  and  soon  returned 
to  France.  J.  Swebach  etched  a  great  number  of 
his  own  compositions,  which  were  published  in 
Paris,  in  five  volumes,  quarto,  under  the  title  '  En- 
cyclop^die  Pittoresque  ;  ou,  Suite  de  compositions, 

147 


A  BIOGRAPHICAL  DICTIONARY  OF 


caprices,  et  etudes  utiles  aux  Artistes.'  He  died  in 
Paris  in  1823.  There  are  pictures  by  him  in  the 
Museums  of  Lyons,  Marseilles,  and  Montpellier. 

SWEBACH,  Bernard  Edooard,  painter  and 
engraver,  the  son  of  Jacques  Swehach,  was  born 
in  Paris,  August  21,  1800.  He  was  taught  by  his 
father,  and  at  the  ficole  des  Beaux  Arts.  He 
painted  the  same  class  of  subjects  as  his  father, 
but  without  attaining  equal  excellence.  He  ex- 
hibited at  the  Salon  from  1822  onwards.  In  the 
Besan^on  Museum  and  at  Cherbourg  there  are 
examples  of  his  work.  He  died  at  Versailles, 
March  2,  1870. 

SWEERTS,  Michael,  (Swerts,)  a  Dutch 
painter  nnd  engraver,  who  flourished  about  the 
year  1655.  His  pictures  have  disappeared,  but  he 
etched  some  nineteen  plates,  chiefly  from  his  own 
compositions,  among  which  are  the  following  : 

Jan  van  Bronckhorst,  Painter  (?). 

Herman  Saftleven,  Painter  (?). 

His  own  Portrait. 

The  dead  Christ, supported  by  the  Marys  and  St.  John. 

A  Man  seated  in  a  chair,  smoking,  and  a  Boy  standing 
by  him. 

An  Indian  shooting  with  bow  and  arrows. 

SWELINCK,  Jan,  a  Dutch  engraver,  who  re- 
sided at  Amsterdam  about  the  year  1620.  He  en- 
graved a  set  of  emblems,  after  A.  V.  Venne.  They 
are  executed  with  the  graver  in  a  style  resembling 
that  of  the  Wierixes.  He  engraved  some  subjects 
from  the  '  Life  of  tlie  Virgin,'  a  'Raising  of  Lazarus,' 
and  a  '  St.  John  the  Evangelist ' ;  these  are  in  ovals 
with  arabesque  borders,  and  are  signed  J.  S. 

SWERTS,  Jan,  painter,  born  at  Antwerp  in 
1820,  was  a  pupil  of  N.  de  Keyser.  He  painted 
historical  and  religious  subjects,  and  frescoes  for 
churches,  of  which  there  are  examples  in  the 
church  of  Notre  Dame,  at  St.  Nicholas,  in  the  church 
of  St.  George,  at  Antwerp,  in  the  town-halls  at 
Ypree  and  Courtrai,  and  in  the  chapel  at  Ince- 
Blundell  Hall.  He  settled  at  Prague,  where  he 
became  director  of  the  Academy,  and  corresponding 
member  of  the  Institute  of  France.  He  died  at 
Marienbad  in  1879. 

SWIDDE,  WiLLEM,  a  native  of  Holland,  born 
about  1660,  chiefly  resided  in  Sweden.  In  1695 
he  engraved  several  of  the  plates  for  a  work  en- 
titled 'Suecia  Antiqua  et  Hodierna.'  We  have 
also  by  him  a  set  of  six  landscapes,  with  figures 
and  cattle,  after  Dirk  Dalens  ;  the  plates  for 
Puffendorf  s  '  Life  of  Charles  Gustavus'  ;  and  some 
large  marine  pieces  with  the  date  1680.  He 
usually  marked  his  plates  with  the  initials  W.  S. 

SWIFT,  John  Warkdp,  marine  painter,  was 
brought  up  at  Hull,  and  was  for  some  years  a 
sailor,  but  gave  up  the  sea  and  obtained  employ- 
ment as  scene-painter  to  an  amateur  dramatic 
society.  He  afterwards  settled  at  Newcastle-on- 
Tyne,  where  he  practised  successfully  for  many 
years,  painting  such  subjects  as,  'The  Channel 
Fleet  running  into  Sunderland,'  'Shields  Harbour,' 
&c.  Some  of  his  works  were  reproduced  in  chromo- 
lithography.     He  died  in  1869. 

SWINTON,  James  Rannie,  portrait  painter, 
belonging  to  the  ancient  family  of  Swinton  of 
Swinton,  was  born  on  April  11,  1816.  After  a 
somewhat  irregular  course  of  practice  he  became  the 
fashionable  portrait  painter  of  his  day,  especially 
of  ladies.  There  is  considerable  skill  and  spirit  in 
his  work,  but  in  his  ladies'  portraits  he  surrendered 
exact  likeness  for  an  exaggerated  sweetness  and 
grace  ;  hence  perhaps  his  popularity.  He  began 
to  exhibit  at  the  Royal  Academy  in  184-1,  sending 
148 


portraits  of  the  Marchioness  of  Douro,  Viscountess 
Camden,  Professor  Wilson,  and  two  others.  Among 
his  later  portraits  are  those  of  the  Marchioness  of 
Douglas  (1845),  the  Earl  of  Elgin  and  the  Duke 
of  Cambridge  (1847),  Lord  Dufferin  (1849),  Mar- 
chioness of  Salisbury  (1850),  Duchess  of  Argyle 
(1851),  the  Marchioness  of  Stafford  and  the  Duchess 
of  WelUngton  (1857),  Lady  Dufferin  and  the 
Duchess  of  Cambridge  (1861),  Lady  Diana  Beau- 
clerk  (1862),  the  Grand  Duke  of  Mecklenburg- 
Strelitz  (1865),  Princess  Mary  of  Cambridge  (1866). 
His  health  began  to  fail  in  1869,  and  he  ceased  to 
send  his  work  to  the  Academy  till  1874,  when  he 
exhibited  portraits  of  the  Hon.  Mrs.  Vesey  and 
the  Countess  Caracciolo.  Though  these  were  his 
last  exhibits,  his  death  did  not  take  place  till 
December  18,  1888.  He  is  represented  at  the 
Dublin  Museum  by  his  portrait  of  Lady  Claude 
Hamilton,  and  at  the  Edinburgh  National  Gallery 
by  his  Professor  Wilson.  M;  H. 

SWITSER,  Joseph,  or  The  Swiss,  was  a  pupil  of 
Johann  von  Aachen,  and  worked  for  the  Emperor 
about  1580. 

SWITZER,  Christoph,  a  German  engraver  on 
wood,  who  resided  in  England  about  the  year  1614. 
He  was  employed  by  Speed  to  cut  the  coins  and 
seals  for  his  '  History  of  Great  Britain,'  from  the 
originals  in  the  Cottonian  Collection.  Speed  calls 
him  the  most  exquisite  atid  curious  hand  of  that 
age.  In  the  Harleian  Library  was  a  set  of  wood- 
cuts, representing  the  broad  seals  of  England,  from 
the  Conquest  to  James  I.  inclusive,  neatly  executed, 
which  Vertue  believed  to  have  been  cut  by  Chris- 
toph Svvitzer ;  they  were  the  originals  from  which 
Hollar  copied  those  pubhshed  by  Sandford.  He 
had  a  son  named  Christopher,  who  also  en- 
graved on  wood,  and  whose  works  are  sometimes 
confounded  with  those  of  his  father. 

SWOBODA,  Eddard,  German  painter ;  born 
November  14,  1814,  at  Vienna  ;  became  a  pupil  of 
the  Vienna  Academy,  winning  the  first  prize.  He 
also  studied  with  F.  Schilcher.  He  painted  a 
considerable  portion  of  the  decorations  of  the 
interior  of  the  Schemnitz  Church,  as  well  as 
landscapes,  genre-pieces,  and  portraits.  His  '  Va 
Banque'  is  in  the  Vienna  Museum.  He  became  a 
professor  of  the  Vienna  Academy  in  1848.  He 
died  at  Vienna,  after  1889. 

SWOBODA,  Karl,  painter,  was  born  at  Prague 
in  1823.  He  studied  first  under  Ruben,  and  secondly 
at  the  Viennese  Academy.  He  painted  a  number 
of  historical  pictures,  but  was  more  successful  as  an 
etcher  and  illustrator.     He  died  at  Vienna  in  1870. 

SWOBODA,  Rudolph,  born  at  Vienna  in  1819, 
was  a  painstaking  painter  of  landscapes  and 
animals.  He  became  a  member  of  the  Vienna 
Academy  in  1848,  and  died  in  1859. 

SYDER,  Daniel.    See  Saiter. 

SYER,  John,  senior,  was  born  at  Atherstone, 
Warwickshire,  on  May  17th,  1815,  but  spent  most 
of  his  early  hfe  at  Bristol,  where  he  received  in- 
struction from  Fisher,  a  miniature-painter  in  that 
city.  His  water-colour  drawings  were  bold,  free 
representations  of  Welsh  and  English  scenery, 
broad  in  style,  after  the  manner  of  David  Cox,  and 
he  was  also  much  influenced  by  the  work  of 
William  MuUer.  One  of  his  finest  oil  pictures  is  a 
view  at  Exeter.  About  the  year  1850  Messrs. 
Rowney  and  Co.  published  several  selections  of 
his  sketches,  such  as  '  Marine  and  River  Views,' 
'  Rustic  Scenes,'  and  also  included  some  of  his 
work  in   their  '  Studies   from  the   Portfolios    of 


PAINTERS  AND    ENGRAVERS. 


various  Artists,  drawn  from  Nature  and  on  Stone.' 
Part  III.  of  this  publication  consisted  of  drawings 
by  Syer.  He  was  a  member  of  the  Royal  Institute 
of  Painters  in  Water-Colours  ;  and  for  some  years 
he  belonged  to  the  Society  of  British  Artists,  but 
resigned  his  membership  ia  1875,  after  his  election 
to  the  Institute.  He  also  exhibited  at  the  Royal 
Academy  between  the  years  of  1832  and  1875.  He 
died  on  June  26th,  1885,  at  Exeter,  while  on  a 
sketching  tour,  after  a  few  days'  illness,  at  the  age 
of  70.  A.B.C 

SYKES, ,  an  English  portrait  painter,  who 

practised  in  the  early  part  of  the  18th  century. 
He  was  of  considerable  repute  in  his  day,  and  was 
one  of  the  painters  who  valued  Thornhill's  works 
at  Greenwich  Hospital.  He  was  an  art  patron  as 
well,  and  formed  a  collection  of  pictures,  which 
was  sold  after  his  death  in  1733.  The  Duke  of 
Bedford  has  a  miniature  by  him. 

SYKES,  Godfrey,  painter,  ornamental  designer, 
and  decorator,  was  born  at  Malton  in  1825.     He 
was  educated  at  the  art  school  of  Slieffiild.     He 
was    also   a   pupil    of   Alfred    Stevens,    and    was 
employed  on  the  decoration   of  South  Kensington 
Museum.     While  at  SheiEeld  he  painted  interiors 
of   rolling-mills,   smiths'    shops,  &c.,  also   a  few 
landscapes.     There  is  a  '  Smitli's  Shop'  by  him,  in 
water-colour,  at  South  Kensington.     He  died  in 
London  in  1866. 
SYLVELT.     See  Zijlvelt. 
SYLVESTER,  Don.     See  Silvestbo. 
SYLVESTRE.     See  Silvestbe. 
SYLVIUS.     SeeSiLvius. 
SYMBRECHT.     See  Zymbrecht. 
SYME,  John,    R.S.A.,   portrait   painter,  was    a 
nephew  of  Patrick  Syme.     He  was  born  in  Edin- 
burgh in  1795,  studied  in  the  Trustees  Academy, 
and  was  afterwards  a  pupil  of  Raeburn,  some  of 
whose  unfinished  works   he  completed.     He  was 
one   of  the   foundation   members   of  the  Scottish 
Academy,   and   his   portrait,  painted    by   himself, 
hangs  in  the  Academy  Gallery.     There  is  alec  an 
excellent  portrait  by  him  in  the  Scottish  National 
Gallery.     He  suffered  much  from  ill-health  in  his 
later  years,  and  died  in  Edinburgh  in  1861. 

SYME,  Patrick,  R.S.A.,  flower  painter,  was  born 
at  Edinburgh,  September  17,  1774.  He  devoted 
himself  to  art  at  an  early  age,  and  on  the  death,  in 
1803,  of  an  elder  brother,  who  was  a  teacher  of 
drawing  in  Edinburgh,  succeeded  to  his  practice. 
He  was  a  man  of  various  attainments,  an  accom- 
plished botanist  and  entomologist,  and  also  a 
writer.  In  1810 he  published  'Practical  Directions 
for  Learning  Flower  Drawing,'  illustrated  by 
coloured  drawings.  In  1823  he  published  a 
'Treatise  on  British  Song  Birds,'  and  later  an 
edition  of  Werner's  'Nomenclature  of  Colour.'  He 
exhibited  with  the  Society  of  Associated  Artists 
from  1810  to  1816.  He  died  at  Dollar,  N.B., 
July  1845. 

SYSANG,  JoHANN  Christopher.  To  this  en- 
graver we  owe  several  portraits,  executed  in  a 
neat,  clear  style,  for  '  Portraits  Historiques  des 
Hommes  illustres  de  Danemark,'  pubHshed  in 
1746. 
SYTICUS.     See  Soye. 

SZOTAIKOW,  ,  a  Russian  engraver,  born 

1777.     He   studied  at   the  Petersburg  Academy, 
and  died  in  1843. 


T. 


TABAR,  Francois  Germain  LferoLo,  painter, 
born  in  Paris,  1818,  was  a  pupil  of  Paul  Delaroche. 
In  the  early  part  of  his  career  he  painted  chiefly 
historical  subjects,  but  later  produced  many  genre 
pictures  and  military  scenes.  His  '  S.  Sebastian,' 
exhibited  at  the  Salon  in  1851,  attracted  much 
attention.  In  the  Bordeaux  Museum  there  is  an 
'  Episode  in  the  Egyptian  Campaign,'  by  him,  and 
at  Saumur  an  'Ambulances  with  Wouuded.'  He 
exhibited  frequently  at  the  Salon  between  1842 
and  1869,  in  which  latter  year  he  died  at  Argenteuil. 
TABORDA,  Jose  da.  See  Da  Cunha  Taborda. 
TACCONE,  Innocenzio,  a  native  of  Bologna, 
was  a  disciple  and,  according  to  Baglione,  a  rela- 
tive of  Annibale  Carracci.  In  1600  he  accompanied 
that  artist  to  Rome,  where  he  assisted  him  in 
many  of  his  works.  In  the  vault  of  the  church  of 
S.  Maria  del  I'opolo  he  painted  three  large  frescoes, 
from  the  designs  of  Annibale,  representing  the 
'Crowning  of  the  Virgin,'  'Christ  appearing  to  St. 
Peter,'  and  'St.  Paul  taken  up  into  the  third 
heaven.'  Of  his  own  compositions  the  most 
considerable  are  some  pictures  in  S.  Angelo  in 
Pescheria,  in  the  chapel  dedicated  to  S.  Andrew, 
representing  the  principal  events  of  the  life  of  that 
Apostle.  He  died  at  Rome,  in  the  prime  of  life,  in 
the  pontificate  of  Urban  VIII.  (1623—1644). 

TACCONI,  Francesco,  of  whose  life  little  is 
known,  flourished  from  1464  to  1490,  and  was  an 
artist  of  some  importance  at  Cremona  in  the  15th 
century.  He  and  his  brother,  Filippo  Taoconi, 
executed  several  frescoes  in  a  loggia  in  the  Palazzo 
Pubblico  of  their  native  city.  In  1464  their  fellow- 
citizens  exempted  them  from  all  taxes  on  account 
of  these  frescoes,  which  have  since,  however,  been 
whitewashed  over.  In  1490  Francesco  was  em- 
ployed in  St.  Mark's,  at  Venice,  where  he  painted, 
on  the  organ  doors  then  in  use,  the  Epiphany,  the 
Resurrection,  and  the  Assumption.  These  paint 
ings,  though  much  damaged,  are  still  preserved, 
and  are  said  once  to  have  been  signed  and  dated. 
In  the  National  Gallery  there  is  a  '  Virgin  En- 
throned,' signed  OP.  FRANCISI  TACHONI  1489 
OCTU.  It  is  a  free  copy  from  a  'Madonna'  by 
Giov.  Bellini,  in  the  Scaizi,  Venice. 

TACKE,  Andreas  Christian  Ludwiq,  German 
painter;  born  December  6,  1823,  at  Brunswick; 
became  a  pupil  of  Brandes  at  Cassel ;  began  as  a 
scene-painter,  but  subsequently  studied  with  Piloty 
at  Munich  before  attempting  more  ambitious  work. 
There  are  mural  decorations  by  him  in  the  Wolfen- 
biittel  Library,  and  the  ceiling  of  the  Brunswick 
New  Theatre  was  painted  by  him  ;  otiier  works  of 
his  are:  'Kreuzgang  im  Schnee,'  '  Heinrich  der 
Lowe '  (designed  for  the  north  window  of  Bruns- 
wick Cathedral),  and  '  Faust  and  Mephistopheles.' 
He  died  at  Brunswick  in  August  1899. 
TADDEO  di  BARTOLI.  See  Bartoli. 
TAFI,  Andrea,  a  Florentine  painter,  and  con- 
temporary of  Giotto.  That  he  flourished  in  the 
early  years  of  the  14th  century,  and  that  his  real 
name  was  probably  Ricchi,  appears  from  the  regis- 
ters of  the  Guild  of  Physicians  and  Apothecaries, 
which  then  included  painters.  He  is  there  in- 
scribed, in  1320,  as  Andreas  vocatus  Tafus,  olim 
Ricchi.  That  the  Florentines  were  indebted  to 
him  for  the  revival  of  the  art  of  working  in  mosaic, 
has  been  stated  on  the  authority  of  Vasari,  who  says 

149 


A  BIOGRAPHICAL  DICTIONARY  OF 


that  Bome  Greek  painters  in  mosaic  being  em- 
ployed in  ornamenting  the  church  of  S.  Marco  at 
Venice,  Tafi  visited  that  city,  in  hopes  of  becoming 
acquainted  with  their  mystery,  and  succeeded  so 
well  that  one  of  them,  named  Apollonio,  not  only 
instructed  him  in  the  art,  but  was  prevailed  on  to 
accompany  him  to  Florence,  where,  in  conjunction 
with  others,  they  were  employed  on  the  mosaics  in 
the  Baptistery.  The  parts  traditionally  assigned 
to  Tati  are  the  innermost  of  the  concentric  bands  in 
the  dome,  containing  groups  of  angels,  and  the 
immense  '  Christ  Enthroned.'  But  several  inaccu- 
racies have  recently  been  pointed  out  in  Vasari's 
account  of  this  artist,  whose  death  he  places  in 
129i.  It  may  be  doubted  whether  Tafi  was  really 
the  author  of  any  frescoes  in  the  Baptistery 
at  all. 

TAGLIASACCHI,  Giovanni  Battista,  painter, 
a  native  of  Borgo  S.  Donnino,  near  Piacenza, 
nourished  about  the  year  1730.  He  was  a  scholar 
of  Giuseppe  dal  Sole,  and  for  some  time  painted 
history  in  the  manner  of  his  teacher,  but  after- 
wards modified  his  style  by  studying  Correggio, 
Parmigiano,  and  Guido.  He  was  an  excellent  por- 
trait painter.  He  died  in  1737.  His  principal 
works  are  at  Piacenza. 

TAGPRET,  Petkk,  (Dachbbett,)  painter,  a 
native  of  Ravensburg,  who  flourished  about  1480. 
Two  works  by  him,  painted  in  the  style  of  Zeitblom, 
are  extant^the  one,  a  '  Gregory  the  Great,  Josepli 
of  Arimathea,  and  the  Virgin '  ;  the  other,  '  John 
the  Evangelist,  Nicodemus,  and  a  Bishop.' 

TAHY,  Antal,  Hungarian  painter ;  born  Sep- 
tember 2,  1855,  at  Budapest;  became  a  student  of 
the  Art  Schools  there,  under  Greguss,  Lotz,  and 
Sz^kely,  afterwards  being  taught  by  Munkacsy  in 
Paris.  His  works  include  '  Partie  von  Pirano '  (in 
the  Fiuine  Museum),  and  'Episode  aus  deni  Jahre 
1848.'  He  also  painted  several  water-colours. 
He  died  in  1892. 

TAIG,  Sebastian,  painter,  born  at  Nordlingen, 
worked  from  1516  to  15G0  with  J.  Herlin  and  Jan 
Schiiufelin,  and  imitated  Durer.  Works  by  him  are 
at  Nuremberg,  Nordlingen,  and  Schleissheim. 

TAILLASSON,  Jean  Joseph,  painter,  born  at 
Blaye,  near  Bordeaux,  in  1746,  went  in  1764  to 
Paris,  where  he  entered  the  atelier  of  Vien.  From 
1791  to  1806  he  painted  classical  pictures,  wrote  a 
critical  work  on  painting,  and  also  poetry  in  the 
style  of  Ossian.     He  died  in  1809.  ' 

TAILLEVENT,  Talleven,  (or  Talven,)  Fran- 
gois,  an  obscure  Flemish  painter  of  the  17th 
century. 

TALAMI,  Orazio,  born  at  Reggio  in  1625,  was 
a  scholar  of  Pietro  Desani.  He  afterwards  visited 
Rome,  where  lie  spent  some  time  in  the  study  of 
Annibale  Carracci.  On  his  return  to  his  native  city 
he  Jdistinguished  himself  as  a  reputable  painter  of 
history  and  architecture,  both  in  oil  and  fresco. 
He  died  in  1699. 

TALBOT,  William  Henry  Fox.  This  man  is 
very  closely  connected  with  the  introduction  of 
photography,  as  the  first  photographic  images 
on  highly-sensitized  writing-paper,  produced  in 
London,  were  his  work.  His  results  were  at  the 
same  time  obtained  in  France  by  Daguerre,  but 
Talbot  speedily  surpassed  his  rival,  and  by  his  in- 
vention of  the  use  of  nitrate  of  silver  in  the  two 
systems,  first  of  all  called  Callotype  and  Talbotype, 
prepared  the  way  for  all  the  discoveries  in  photo- 
graphic art.  With  Sir  David  Brewster  and  Mr. 
J.  0.  N.  Rutter,  of  Brighton,  he  tiiok  the  first 
150 


important  photographs  by  the  collodion  process 
that  had  been  executed,  and  he  worked  very  hard 
to  perfect  his  new  invention.  He  gained  the 
great  gold  medal  in  the  Paris  Exhibition  of  1867. 
He  was  a  writer  of  considerable  importance  on 
archaeological  subjects,  an  astronomer,  a  poet,  an 
antiquary,  and  a  chemist ;  while  the  drawings  that 
he  made  of  his  own  instruments,  or  of  those  which 
he  required  from  the  instrument-makers,  prove 
him  to  have  been  an  expert  artist.  He  was  greatly 
attached  to  Professor  Faraday,  and  he  it  was  who 
brought  down  that  eminent  scientist  from  the 
Royal  Institution  to  Brighton,  to  his  friend  Mr. 
Rutter,  that  he  might  take  his  photograph  by 
Talbot's  new  process,  wliicli  had  been  discovered 
in  Mr.  Rutter's  house  at  Black  Rock,  Brighton. 
Mr.  Talbot  died  in  1877,  and  was  the  recipient 
during  his  life  of  the  two  most  important  medals 
given  by  the  Royal  Society. 

TALPOURD,  Field,  the  younger  brother  of  Mr. 
Justice  Talfourd,  was  born  at  Reading  in  1815. 
He  first  exhibited  at  the  Royal  Academy  in  1845, 
and  from  that  time  onwards  was  an  occasional 
contributor  to  the  exhibition.  His  works  were 
chiefly  portraits,  but  from  1865  to  1873  he  ex- 
hibited landscapes.     He  died  in  London  in  1874. 

TALMAN,  John,  amateur  draughtsman,  was  the 
son  of  William  Talman,  the  architect.  In  1710  he 
went  with  Kent  to  study  in  Rome,  and  there  made 
a  number  of  pen  and  ink  sketches  and  washed 
drawings,  from  churches  and  other  buildings; 
some  of  these  are  in  the  possession  of  the  Society 
of  Antiquaries. 

TALPINO.     See  Salmegqia. 

TAMAGNI,  ViNCENZo,  usually  called  Vincenzo 
DA  San  Gemignano,  was  born  at  San  Gemignano  in 
1492.  He  went  to  Rome  and  entered  the  school 
of  Raphael,  where,  according  to  Vasari,  he  was 
called  on  to  assist  his  master  in  the  Loggia  of  the 
Vatican.  The  statements  of  Vasari  with  regard  to 
Tamagni  are  open,  however,  to  much  doubt.  He 
was  really  a  member  of  the  Sienese  school.  His 
earliest  works,  some  frescoes  at  Montalcino,  a  small 
town  near  Siena,  were  once  signed  and  dated  1510. 
Two  signed  altar-pieces  are  still  at  San  Gemig- 
nano ;  and  in  the  apse  of  S.  Maria  d'Arrone, 
Umbria,  he  painted  frescoes  in  conjunction  with 
Lo  Spagna,  on  which  the  names  of  both  artists 
appear.     Tamagni  died  about  1530. 

TAMAROZZO,  (or  TAMAHOCCIO,)  Cesare,  a 
Bolognese  painter  of  the  early  16th  century,  the 
pupil  of  Francia.  Two  of  the  frescoes  in  the  ora- 
tory of  S.  Cecilia  at  Bologna  were  painted  by  him 
— '  The  Baptism  of  Valerian,'  and  •  The  Martyrdom 
of  St.  Cecilia.'  It  has  been  suggested  that  these 
were  painted  from  designs  by  Francia  or  Costa, 
so  superior  are  they  in  conception  to  execution.  A 
signed  picture  bj' Tamarozzo,  'The  Madonna  and 
Child,  with  the  little  S.  John,'  is  in  the  Poldi 
Pezzoli  collection  at  Milan. 

TAMBURINI,  Giovanni  Maria,  painter  and 
engraver,  a  native  of  Bologna,  who  flourished 
about  1640,  was  first  a  scholar  of  Pietro  Facini, 
and  afterwards  of  Guido  Reni.  He  painted  history 
with  some  success,  and  was  employed  for  several 
of  the  churches  at  Bologna.  His  best  works  are 
his  '  S.  Antony  of  Padua,'  in  the  church  of  La 
Morte,  and  an  'Annunciation,'  in  S.  Maria  della 
Vita. 

TAMM,  Franz  Werner,  (called  Dapper,)  was 
born  at  H  imburg  in  1658,  studied  at  first  under 
Von  Sosten  and  Pfeiffer,  and  then   went  first   to 


PAINTERS  AND   ENGRAVERS. 


Rome,  and  afterwards  to  Vienna,  where  he  became 
court  painter.  The  Vienna  Gallery  contains  seven 
and  the  Dresden  Gallery  four  of  his  works,  represent- 
ing chiefly  fruit,  flowers,  dead  game,  and  similar  sub- 
jects. His  works  show  good  drawing,  careful  and 
highlj'-finished  execution,and  colour,  which, though 
heavy  at  first,  became  clearer  and  more  brilliant  as 
time  went  on.     He  died  at  Vienna  in  1724. 

TANCINI,  Lorenzo,  Italian  painter ;  bom 
August  10,  1802,  at  Caorso ;  became  a  pupil  of 
Girardi  at  the  Piacenza  Art  School,  and  of  Landi 
at  Rome  ;  he  also  studied  at  Milan.  A  '  Trans- 
figuration'  of  his  is  in  the  church  of  Piacenza, 
and  portraits  and  historical  pictures  executed  by 
him  exist  at  Parma,  where  he  was  a  professor  at 
the  Academy,  and  where  he  died  in  1893. 

TANCREDI,  FiLippo,  born  at  Messina  in  1655, 
studied  some  time  at  Naples,  and  afterwards  visited 
Rome,  where  he  entered  the  school  of  Carlo 
Maratti.  He  spent  a  great  part  of  his  life  at 
Palermo,  where  he  painted  tlie  ceiling  of  the  cimrch 
of  the  Teatini,  and  that  of  II  Gesii  Nuovo.  He 
died  at  Palermo  in  1722. 

TANJE,  PiETER,  a  Dutch  engraver,  was  born  at 
Bolsward,  in  Friesland,  in  1706.  At  first  a  water- 
man's boy,  he  studied  at  the  age  of  twenty-four 
under  Folkema,  and  became  a  most  industrious 
artist,  engraving  a  great  number  of  portraits  and 
other  subjects,  as  well  as  vignettes  for  books.  The 
most  considerable  of  his  works  are  five  large 
plates,  after  the  famous  windows  of  the  church  of 
St.  John  at  Gouda.  He  also  engraved  some  plates 
for  the  '  Dresden  Gallery.'  Among  others  we  have 
the  following  prints  by  him : 

Portraits   of    the    Dutch   Stadtholders    {jointly    with 

Houbraken). 
George  II.,  Kiug  of  England,  &c. ;  after  Faher.     1752. 
Charles  VII.,  Emperor  of  Germany  ;  P.  Tanj^^  sc. 
Christina,  Queen  of  Sweden  ;  after  S.  Bourdon. 
His  own  Portrait;  after  J.  M.  Quinckhard. 
A  Dead  Christ ;  after  Francesco  Salvinti. 
The  Chastity  of  Joseph  ;  after  Carlo  Cignani, 
Children  Dancing;  after  Alhano. 
The  Card-players  ;  after  M.  Angrlo  Caravaygio. 
Tarqniu  and  Lucretia  ;  after  Luca  Giordano, 

(The  last  five  are  in  the  '  Dresden  Gallery.*) 

Tanje  died  at  Amsterdam  in  1760. 

TANNER,  John  Sigismund,  an  eminent  German 
medallist,  wlio  came  to  London  about  1728,  and 
was  employed  as  an  engraver  at  the  Royal  Mint, 
where  he  remained  for  nearly  forty  years.  He 
died  in  1775  ;  and  the  Copley  medal  of  the  Royal 
Society,  and  several  other  medals,  as  well  as  the 
gold  coins  of  1739,  and  the  silver  coins  from 
1743,  were  his  work.  He  prepared  exquisite  pen- 
and-ink  sketches  of  old  coins,  which  are  to  be  seen 
in  his  note-book  in  the  possession  of  the  Editor. 

TANNER,  Rudolph,  painter,  born  at  Richtens- 
weil,  on  the  Lake  of  Zurich,  in  1775,  was  a  sword 
cutler  by  trade.  He  studied  art  without  a  teacher, 
but  in  1814,  when  he  was  already  thirty-nine,  he 
went  to  Munich  to  study,  and  there  he  died  in 
1830. 

TANNEUR,  Philippe,  painter,  was  born  at 
Marseilles  in  1795.  He  was  a  pupU  of  Horace 
Vernet,  and  painted  marine  aud  battle  pieces,  coast 
views,  etc.  He  exhibited  at  the  Salon  from  1827. 
There  is  a  sea-piece  by  him  in  the  Luxembourg,  and 
other  examples  of  his  art  in  the  museums  of  Mar- 
seilles, Montpellier,  and  Nantes.     He  died  in  1873. 

TANNOCK,  James,  a  Scottish  portrait  paiuter, 
was  born  at  Kilmarnock  1784.  Of  humble  jiareut- 
age,  he  was  brought  up  as  a  shoemaker,  and   then 


worked  as  a  house-painter.  With  a  strong  pre- 
dilection for  art,  he  painted  some  portraits  in 
Kilmarnock,  and  after  receiving  some  instruction 
from  Alex.  Nasmyth,  eventually  succeeded  in  form- 
ing a  practice  as  a  portrait  painter  in  Greenock 
and  Glasgow.  In  1810  be  migrated  to  London, 
and  from  1813  to  1841  exhibited  forty-four  portraits 
at  the  Royal  Academy.  He  died  in  London  in  1863. 
His  portraits  of  Professor  Geo.  Jos.  Bell,  of  Henry 
Bell,  and  of  George  Chalmers,  are  in  the  Scottish 
National  Portrait  Gallery.  His  younger  brother 
William  Tannock  also  practised  as  a  portrait 
painter. 

TANZIO,  Enrico  Antonio,  (called  Tanzio 
D'Alagna,  or  Tanzio  di  Varallo,)  born  at  Alagna, 
near  Novara,  in  1574.  He  was  a  competitor  with 
the  Carloni  in  several  public  works  at  Milan,  and 
painted  a  'Destruction  of  Sennacherib,'  in  the 
church  of  S.  Gaudenzio  at  Novara,  He  is  supposed 
to  have  died  in  1644. 

TAPARELLI  D'AZEGLIO,  Massimo,  Marchese, 
statesman,  soldier,  poet,  and  painter,  and  brother 
of  Roberto,  Marchese  d'Azeglio,  was  born  at  Turin 
in  1798.  In  Rome  he  devoted  himself  for  some 
time  to  painting  landscapes,  which  were  frequently 
combined  with  historical  sul)jects.  He  also  painted 
the  scenes  for  an  opera  composed  by  himself.  He 
died  at  Turin  in  1866. 

TAPARELLI  D'AZEGLIO,  Roberto,  Marchese, 
who  was  born  at  Turin  in  1790,  painted  historical 
works  after  the  manner  of  Gaudenzio  Ferrari. 
He  was  director  of  the  Turin  Gallery,  and  wrote 
several  books  on  art.  He  died  at  Ids  birth-place  in 
1862. 

TAPIA,  Don  Isidoro  de,  a  painter  of  historical 
pictures,  born  at  Valencia  in  1720,  was  a  scholar 
of  Evaristo  Munoz.  He  went  to  Madrid  in  1743, 
and  afterwards  passed  into  Portugal.  He  was  a 
member  of  the  Academy  of  S.  Fernando,  which 
possesses  a  picture  of '  Abraham's  Sacrifice '  painted 
by  him.     He  died  at  Madrid  in  1755. 

TARABOTTI,  Caterina,  was  a  native  of  Vi- 
cenza,  and  a  pupil  of  Alessandro  Varotari  and  his 
sister  Chiara.  She  practised  chiefly  at  Verona, 
where  she  painted  historical  pictures.  The  dates 
of  her  birth  and  death  are  unknown,  but  she  was 
at  work  in  1659. 

TARAVAL,  Jean  Hugues,  painter  and  engraver, 
born  in  Paris  in  1728,  was  the  son  and  pupil  of 
Thomas  Raphael  Taraval.  In  1756  he  won  the 
Grand  Prix  at  the  Academy,  and  in  1759  went  as 
pensioner  to  Rome.  On  his  return  in  1764  he 
painted  a  successful  portrait  of  Louis  XV.  In 
1769  he  was  received  by  the  Academy,  his  recep- 
tion picture  being  a  '  Triumph  of  Bacchus.'  In 
1785  he  was  appointed  professor  and  chief  inspector 
at  the  Gobelin  manufactory,  and  died  in  Paris  the 
same  year.  There  is  a  '  'Triumph  of  Amphitrite ' 
by  him  in  the  Louvre. 

TARAVAL,  Louis  Gdstave,  architectural  de- 
signer and  engraver,  was  the  son  of  Thomas  Ra- 
phael Taraval.  He  was  born  at  Stockholm  in 
1737,  was  sent  by  his  father  to  join  his  brother 
Hugues  in  Paris,  where,  among  other  prints,  he 
engraved  some  architectural  subjects  from  tlie 
designs  of  Dumont.  Another  member  of  the 
family,  Jean  Gustave  Taraval,  a  nephew  of 
Raphael,  was  born  in  Paris  in  1767.  He  won  the 
Grand  Prix  in  1782,  and  died  in  Rome  two  years 
later. 

TARAVAL,  Thomas  Raphael,  painter,  was  a 
Frenchman  by  birth,  and  studied  in  Paris.     He  was 

161 


A  BIOGRAPHICAL  DICTIONARY  OF 


invited  to  Sweden,  and  became  court  painter  to  the 
King.  In  the  Castle  of  Stockholm  are  several  wall 
paintings  by  this  artist.  He  founded  a  school  of 
painting  at  Stockholm,  virhere  he  died  in  1750. 

TAKDIEU,  Ambroise,  nephew  and  pupil  of 
Pierre  Alexandre  Tardieu,  was  born  in  1788.  He 
was  geograpliical  engraver  to  the  French  Govern- 
ment. With  his  work  as  an  engraver  he  combined 
a  trade  in  prints,  books,  and  maps.  Like  his  uncle, 
he  engraved  many  portraits,  his  total  productions 
in  that  line  amounting  to  some  800  plates,  mostly 
of  very  small  size.     He  died  in  Paris  in  1841. 

TARDIEU,  Elisabeth  Claire  (n^e  Toornay), 
was  the  second  wife  of  Jacques  Nicolas  Tardieu. 
She  was  born  in  Paris  in  1731,  and  died  there  in 
1773.     Among  other  prints,  she  engraved  these  : 

The  Concert ;  after  J.  F.  de  Troy. 

The  Mustard  Merchant ;  after  Charles  Iliitin. 

Two  plates  of  the  Charitable  Lady  &ad  the  Catechist; 

after  P.  Dumesnil. 
The  Old  Coquette;  after  the  same. 
The  Repose ;  after  Jeaural. 

TARDIEU,  Jacques  Nicolas,  (called  Cochin,) 
the  son  of  Nicolas  Henri  Tardieu,  born  in  Paris  in 
1718,  was  instructed  in  the  art  of  engraving  by  his 
father.  He  used  the  point  less  and  the  graver 
more  than  his  father;  hence  his  prints  are  neater, 
though  inferior  in  spirit  and  picturesqueness  of 
effect.  He  was  a  member  of  the  Academy  at  Paris. 
He  engraved  a  considerable  number  of  portraits 
and  other  subjects,  among  which  are  the  following  : 

Louis  XV. ;  after  Vanloo. 

His  Queen  Marie  Leczynska  ;  after  Nattier. 

Marie  Henriette  of  France  ;  after  the  same. 

The  Archbishop  of  Bordeaux  ;  after  Restout. 

Robert  Lorraine,  sculptor  to  the  King.      1749. 

Bon  Boullogne,  Painter  to  the  King ;  the  companion 

plate. 
Christ  appearing  to  the  Virgin  ;  after  Guido. 
Mary  Magdalene  penitent ;  after  Paolo  Pagnani. 
The  Pool  of  Bethesda;  after  Restout. 
Diana  and  Actaeon  ;  after  F.  Boucher. 
The  Miseries  of  War ;  after  Tenters. 
A  pair  of  Laudscapes ;  after  Cochin  the  younger. 

He  also  engraved  some  plates  for  the  '  Galerie 
de  Versailles,'  after  Le  Brun.  He  died  in  Paris  in 
1795.  Louise  Tardieo,  Iiis  wife,  who  was  the 
daughter  of  the  celebrated  medallist  Du  Vivier,  also 
engraved  some  plates. 

TARDIEU,  Jean  Baftiste  Pierre,  nephew 
and  pupil  of  Nicolas  Henri,  was  a  geographical 
engraver.  He  was  born  in  Paris  in  1746,  and 
died  1816. 

TARDIEU,  Jean  Charles,  called  Cochin,  was 
the  son  of  Jacques  Nicolas  Tardieu.  He  was  born 
in  Paris  in  1765,  and  studied  under  Regnault.  He 
painted  a  great  number  of  pictures  for  the  Govern- 
ment, which  were  placed  in  the  Luxembourg,  at 
Versailles,  St.  Cloud,  and  Fontainebleau  ;  also  in  the 
Museum  at  Rouen,  and  in  the  cathedral.  In  addi- 
tion to  these  he  exercised  his  pencil  on  classical 
and  poetical  subjects  for  private  individuals  ;  and 
seems  to  have  been  fully  employed  during  the 
reigns  of  Napoleon,  Louis  XVIII.,  and  Charles  X. 
He  also  made  copies  of  several  pictures  by  P. 
de  Champagne.  He  died  in  Paris  the  3rd  of  April, 
1830.  There  are  examples  of  his  work  in  the 
Museums  of  Besan9on,  Havre,  Versailles,  and 
Marseilles. 

TARDIEU,  Marie  Anne.    See  Roussklet. 

TARDIEU,  Nicolas  Henri,  an  eminent  French 
engraver,  born  in  Paris  in  1674,  was  first  a  pupil 
of  P.  le  Pautre,  and  was  afterwards  instructed  by 

152 


G6rard,  and  by  Benoit  Audran.  He  was  engaged 
in  some  of  the  most  important  pubhcations  of  his 
time,  and  engraved  several  plates  for  the  '  Collec- 
tion Crozat,'  the  '  Galerie  de  Versailles,'  and  other 
publications.  He  was  received  into  the  Academy 
in  Paris  in  1720,  and  died  in  that  city  in  1749.  The 
following  are  among  his  best  prints  : 

Louis  Antoine,  Duke  d'Antiu  ;  after  Rigaud  ;  engraved 

for  his  reception  plate  at  the  Academy  in  1720. 
Jean  Soaaon,  Bishop  of  Senez ;  Nic.  Tardieu  ad  vivum 

fecit.     1716. 
Embarkation  for  Cythera ;  after  Watteau. 
The  Set  of  Alexander's  Battles  ;  after  Le  Brun. 
Four  subjects  of  Roman  History,  in  the  form  of  friezes  ; 

after  Rinaldo  Mantovano. 
Jupiter  and  Alcmene ;  after  Giulio  Romano. 
The  Annunciation ;  after  Carlo  Maratti. 
The  Holy  Family,  with  Angels  presenting  Flowers  and 

Fruit;  after  Andrea  Luiyi  d* Assist. 
Adam  and  Eve  ;  after  Domenichino. 
The  Scourging  of  Christ ;  after  Le  Brun. 
The  Crucifixion  ;  after  the  same. 

An  emblematical  Subject,  representing  the   principal 
qualifications  of  a  perfect  Minister :  Secrecy,  Fortitude, 
and  Prudence  ;  after  Le  Sueur. 
Christ  and  the  Woman  of  Samaria  ;  after  N.  Berlin. 
Christ  appearing  to  Mary  Magdalene;  after  the  same. 
The  Martyrdom  of  St.  Peter  ;  after  Seh.  Bourdon. 
The  Crucifixion  ;  after  Joseph  Parrocel. 
The  Conception  ;  after  Antoine  Coypel. 
Apollo  and  Daphne  ;  after  the  same. 
The  Wrath  of  Achilles  ;  after  the  same. 
The  Parting  of  Hector  and  Andromache ;  after  the  same. 
Vulcan  presenting  to  Venus  Armour  for  jEueas  ;    after 

the  same. 
Venus  soliciting  Jupiter  in  favour  of  .Sneas ;  after  the 

same. 
Juno  directing  .Solus  to  raise  a  Tempest  against  the 
Fleet  of  jEneas  ;  after  the  same. 

The  three  last  form  a  series  from  the  History 
of  jEneas,  painted  in  the  Palais  Royal  by  Ant. 
Coypel. 

TARDIEU,  Pierre  Alexander,  engraver, 
nephew  of  Jacques  Nicolas  Tardieu,  was  born  in 
Paris  in  1756,  and  was  a  pupil  of  J.  G.  Wille,  and 
afterwards  of  Nanteuil  and  Edelinck.  He  engraved 
the  portrait  of  Henry  IV.  of  France,  after  F.  Pour- 
bus,  for  the  '  Collection  du  Palais  Royal.'  Among 
his  scholars  were  Desnoyers,  Bertonnier,  and  Aubert. 
He  died  in  Paris  in  1844.  Among  his  numerous 
plates,  the  following  may  also  be  named  : 

St.  Michael  overcoming  Lucifer  ;  after  Raphael. 

The  Communion  of  St.  Jerome ;  after  Domeniehino. 

Judith  and  Holof ernes  ;  after  Allori. 

Psyche  abandoned ;  after  Gerard. 

Three  portraits  of  Henry  IV. ;  after  Janet  and  F.  Pourbus. 

Two  of  Voltaire  ;  after  Largilti'ere  and  Houdon. 

The  Earl  of  Arundel ;  after  Van  Dyck. 

Marshal  Ney  ;  after  Gerard. 

Napoleon  in  liis'Coronation  robes  ;  afte)-  Jsabey. 

Marie  Antoinette  ;  after  Dumont. 

Montesquieu,  Paul  Barras,  and  many  other  portratts. 

TARDIEU,  Pierre  FRAN901S,  was  the  nephew 
of  Nicolas  Henri  Tardieu,  by  whom  he  was  in- 
structed. He  was  born  in  Paris  in  1720.  His 
plates,  though  inferior  to  those  of  his  relatives,  are 
not  without  merit.     We  may  name  the  following  : 

The  Judgment  of  Paris ;  after  Rubens. 

Perseus  and  Andromeda  ;  after  the  same. 
He  also  engraved  several  architectural  views  after 
Panini ;  a  set  of  plates  for  La  Fontaine's  '  Fables,' 
after    Oudry ;     and    several    plates    for    Buffon's 
'  Natural  History.'     He  died  in  Paris  about  1774. 

TARDIF,  Olivier,  a  famous  French  glass  painter 
in  the  16th  century,  who  flourished  at  Rouen,  where 
he  worked  for  the  cathedral.  His  son  Noel  suc- 
ceeded to  his  position,  but  was  of  inferior  talent. 


PAINTERS   AND  ENGRAVERS. 


TABICCO,  Sbbastiano,  painter,  was  bom  at 
Cherasco,  in  the  Piedmontese,  in  1645.  He  formed 
his  style  by  the  study  of  Guido  and  Domenichino. 
He  died  in  1710. 

TARUFFI,  Emilio,  born  at  Bologna  in  1633, 
was  a  fellow-student  with  Carlo  Cignani,  under 
Francesco  Albano.  In  conjunction  with  Cignani, 
he  painted  some  pictures  in  the  Palazzo  Publico 
at  Bologna,  and  accompanying  him  to  Rome,  was 
his  coadjutor  in  his  frescoes  in  S.  Andrea  della 
Valle.  Of  his  works  at  Bologna,  the  best  are  a 
'  Virgin  presenting  the  Rosary  to  S.  Domenico,'  in 
the  church  of  S.  Maria  Nuova,  and  a  'Virgin, 
with  a  glory  of  Angels,  appearing  to  S.  Celestine,' 
in  the  church  dedicated  to  that  saint.  He  painted 
landscape  in  the  style  of  Albano.  There  is  an 
etching  by  him  dated  8th  May,  1651,  when  he 
was  only  eighteen.     He  was  assassinated  in  1696. 

TASCA,  Cristoforo,  painter,  was  born  at  Ber- 
gamo in  1667.  Aiter  learning  the  rudiments  of 
design  in  his  native  city,  he  studied  the  works  of 
Antonio  Belluoci  and  Carlo  Loti  at  Venice.  He 
established  himself  in  Venice,  where  his  best  works 
are,  a  '  Birth  of  the  Virgin,'  in  the  Cliiesa  dell' 
Assunzione  ;  a  '  Death  of  St.  Joseph,'  in  SS.  Filippo 
e  Giacomo ;  and  a  'Nativity'  and  'Baptism  of 
Christ,'  in  S.  Marta.     He  died  at  Venice  in  1737. 

TASNI^RE,  G.,  was  resident  about  the  year 
1670  at  Turin,  where  he  engraved  part  of  a  set  of 
prints  from  hunting  subjects  and  portraits  painted 
by  Jan  Miel,  in  the  palace  of  the  Duke  of  Savoy, 
which  were  published  at  Turin  in  1674,  and  entitled 
'  La  Venaria  reale  Palazzo  di  piacere,'  &c.  He  also 
engraved  several  plates  from  the  pictures  of 
Domenico  I'iola,  in  a  coarse,  tasteless  style. 

TASSAERT,  Jean  Pieree,  painter,  born  at 
Antwerp  in  1651,  was  the  son  of  Pierre  Tassaert, 
a  painter  of  Antwerp.  Jean  Pierre  became  free  of 
the  Guild  of  S.  Luke  in  1690,  and  dean  in  1701. 
He  was  the  grandfather  of  Philip  Joseph  Tassaert. 
He  painted  interiors  and  historical  subjects,  but 
few  of  his  works  are  now  extant.  There  were 
formerly  eight  pictures  by  him  in  the  hall  of  the 
suppressed  Company  of  Diamond  Polishers,  con- 
taining scenes  from  the  lives  of  St.  Peter  and  St. 
Paul,  In  the  Museum  at  Antwerp  there  is  a 
'  Meeting  of  Philosophers '  by  him.  He  died  in 
1725. 

TASSAERT,  Nicolas  FBANgois  Octave,  painter, 
born  in  Paris  in  1800,,  studied  under  Girard  and 
Lethifere,  and  in  the  Ecole  des  Beaux  Arts.  He 
painted  portraits,  historical  subjects,  and  genre. 
Tassaert  had  a  life  of  misery,  and  his  works  are 
of  a  melancholy  character.  The  best,  perhaps,  is 
'The  Unfortunate  Family,'  in  the  Luxembourg. 
We  may  also  name: 

Early  Christians  celebrating  the  Eucharist  in  the  Cata- 
combs (Bnrdeatuc  Museum). 

Heaven  and  Hell  (Montpellier  Museum). 

Portrait  of  Himself  {do.). 
He  committed  suicide  by  inhaling  carbonic  acid  gas, 
in  Paris,  in  1874. 

TASSAERT,  Philip  Joseph,  a  Flemish  painter, 
born  at  Antwerp  in  1732,  was  painter  to  Prince 
Charles  of  Lorraine.  He  migrated  to  England 
early  in  his  career,  and  worked  as  journeyman  for 
Hudson.  In  1769  he  became  a  member,  and  in  1775 
president,  of  the  Incorporated  Society  of  Artists, 
where  his  works  were  chiefly  exhibited.  He  prac- 
tised as  a  picture  restorer  and  dealer,  and  also 
scraped  some  plates.  He  died  iu  London  in  1803. 
Amongst  his  phites  are  : 


Jonah  thrown  into  the  Sea ;  after  Rubens. 

The  "Woman  taken  in  Adultery ;  after  the  same. 

The  Virgin  and  Child,  with  St.  Elizabeth  and  St.  John  ; 

after  the  same. 
The  Martyrdom  of  St.  Lawrence ;  after  the  same. 
The  Parting  of  Venus  and  Adonis  ;  after  the  same. 
The  Kubens  Family  ;  after  the  same.    1763. 
Rubens'  three  Children  ;  after  the  same. 
J.  Harrison  ;  after  T.  King.     1768. 
The  Four  Ages  ;  ofter  a  drawing  by  himself.     1768. 

TASSEL,  Pierre,  a  French  painter  of  the  16th 
century,  was  born  at  Langres  in  1521.  The  details 
of  his  career  are  unknown.  At  the  Troyes  Museum 
there  is  an  '  jEneas  carrying  Anchises '  by  him. 

TASSEL,  Richard,  born  at  Langres  in  1588,  was 
the  pupil  of  his  father,  Pierre  Tassel.  When  he 
was  eighteen  he  went  to  Italy,  and  entered  the 
school  of  Guido  Reni  at  Bologna,  moving  after- 
wards to  Rome.  On  his  return  to  France  he  ob- 
tained a  civil  appointment,  but  still  practised  as  a 
painter  and  sculptor.  His  works  are  to  be  found 
at  Langres,  Lyons,  and  Dijon.  He  died,  according 
to  the  date  on  his  epitaph,  in  1660,  though  there 
is  a  'St.  Martina'  by  him,  dated  1663.  His  son, 
Jean  Tassel,  born  at  Langres  in  1608,  was  also  a 
painter,  and  his  father's  pupil.     He  died  in  1667. 

TASSI,  Agostino,  whose  family  name  was  Buon- 
amici,  was  born  at  Perugia  in  1565,  and  studied 
at  Rome  under  Paul  Bril,  although  he  called  him- 
self a  disciple  of  the  Carracci.  He  painted  land- 
scapes in  the  style  of  Bril,  and  was  rising  into 
fame,  when,  for  some  unexplained  offence,  he  was 
sent  to  the  galleys  at  Leghorn.  During  his  con- 
finement he  occupied  himself  in  drawing  the  mari- 
time objects  witii  which  he  was  surrounded,  and 
after  his  liberation  they  became  the  favourite 
subjects  of  his  pictures.  He  painted  sea-ports, 
calm  seas  with  shipping  and  fishing-boats,  and 
occasionally  storms.  He  also  excelled  in  archi- 
tectural and  perspective  views.  Agostino  Tassi 
was  the  master  of  Claude  Lorraine.  He  died  at 
Rome  in  1 644.  He  has  left  a  few  slight  but  spirited 
etchings,  of  storms  at  sea  and  shipwrecks. 

TASSIE,  James.  This  man  will  ever  be  re- 
membered by  reason  of  his  portrait  medallions, 
modelled  in  wax  from  the  life,  and  finished  in  a 
white,  hard  enamel.  He  was  also  a  very  skilful 
draughtsman,  and  talented  in  making  copies  of 
antique  gems.  He  was  a  Scotchman,  born  near 
Glasgow  in  1736,  and  came  from  an  ancient 
Italian  family.  He  made  very  many  beautiful 
drawings  of  classical  subjects  for  Wedgwood  the 
potter,  and  had  an  important  catalogue  of  his 
collection  of  gems  issued,  describing  over  15,000 
items.     He  died  in  1799. 

TASSIE,  William,  the  nephew  of  James  Tassie, 
was  born  in  London  in  1777,  and  died  in  1860. 
He  continued  the  work  of  modelling  medallions 
and  gems  started  by  his  uncle,  and  added  very 
largely  to  the  series  originally  prepared  by  James 
Tassie.  The  business  under  his  hands  was  very 
successful,  and  he  was  able  to  retire  in  1840.  The 
best  examples  of  his  work  are  in  the  National 
Portrait  Gallery  and  the  National  Gallery  of 
Scotland.  A  memoir  of  himself  and  of  his  uncle 
jvas  prepared,  and  from  it  most  of  the  information 
in  the  above  notice  is  derived. 

TATE,  William,  an  English  portrait  painter, 
born  about  the  middle  of  the  18th  century.  He 
studied  under  Wright  of  Derby,  and  practised  suc- 
cessively in  Liverpool,  London,  Manchester,  and 
Bath.  He  was  a  member  of  the  Incorporated 
Society,  with  whom  he  exhibited,  as  well  as  with 

153 


A  BIOGRAPHICAL  DICTIONARY  OF 


the  Royal  Academy,  from  1771  to  1804.     He  died 
at  Bath  in  1806. 

TATHAM,  Charles  Heathcote,  architect,  was 
also  known  as  a  draughtsman  and  etcher.  He  was 
born  in  1770,  studied  in  It;ily,  and  was  elected  a 
member  of  the  Academies  of  Rome  and  Bologna. 
In  1799  he  published  '  Etchings  from  the  best 
Examples  of  Ancient  Ornamental  Architecture, 
drawn  from  the  Originals  at  Rome  '  ;  in  1806  two 
volumes,  '  Etchings  representing  Fragments  of 
Grecian  and  Roman  Architectural  Ornaments,'  and 
'Designs  for  Ornamental  Plate';  and  in  1811, 
'The  Gallery  at  Castle  Howard,'  and  'The  Gallery 
at  Brocklesby.'     He  died  in  April  1842. 

TATKELEFF,VoGiANY.  This  celebrated  Russian 
artist,  whose  name  does  not  appear  in  the  usual 
books  of  reference,  and  who  seems  for  some  un- 
accountable reason  to  have  been  overlooked,  was 
born  in  1813,  the  son  of  a  serf  in  the  Borissov 
department  of  Russia.  The  nobleman  in  whose 
employ  his  fatlier  was,  attracted  by  the  cleverness 
displayed  by  the  lad  in  rude  charcoal  sketches 
and  portraits,  determined  to  educate  liim,  and  sent 
him  to  Moscow  for  that  purpose.  When  the  lad 
was  but  nineteen  his  protector  died,  and  his 
successor  taking  little  interest  in  Tatkeleff,  forced 
him  into  the  army,  where  he  served  for  fifteen 
years.  When  at  Tiflis  his  colonel  found  out  his 
ability  and  allowed  him  to  execute  some  fresco 
decoration  for  him  in  his  dining-room.  In  184'J 
he  was  discharged  from  the  army,  and  returning 
to  his  native  village  found  his  parents  both  dead , 
and  also  his  master.  The  widow,  however,  took 
some  interest  in  Tatkeleff  and  appointed  him  as 
teacher  in  the  village  school,  but  soon  finding  out 
how  clever  he  was,  set  him  to  paint  many  pictures 
for  her  house.  In  1854  he  was  sent  to  the  Crimea 
\vith  the  son  of  his  benefactress,  and  there  he 
injured  his  eyesight,  and  after  a  while  his  lady 
patron  died,  and  Tatkeleff  entered  into  the  service 
of  a  publisher  at  KiefE,  and  worked  at  designs  and 
book  illustrations  for  him.  In  1870  a  tourist  in 
Russia,  whose  name  is  unknown,  gave  him  some 
money  with  which  to  buy  colours,  and  persuaded 
him  to  start  painting  in  earnest,  and  in  1873  he 
exhibited  two  large  pictures  in  Moscow,  represent- 
ing scenes  in  the  Crimean  war,  which  made  his 
name  famous  at  once.  They  were  purchased  by 
the  then  Tsar,  and  hung  in  the  Winter  Palace  at 
Petersburg,  and  long  notices  of  them  appeared  in 
the  leading  Russian  journals.  On  March  6,  1873, 
Count  Baranowicz,  President  of  tlie  Moscow  Art 
Gallery,  presented  Tatkeleff,  then  a  man  of  sixty, 
with  an  important  medal,  and  had  him  to  his 
house,  introducing  him  as  "  the  greatest  artist 
Russia  had  known":  to  all  his  friends,  and  from 
that  time  he  was  well  known  and  very  highly 
respected.  "  He  was  a  person  of  very  small 
stature,"  says  the '  Baltic  Gazette,'  "with  very  small 
hands  and  feet,  of  a  timid  manner  and  almost 
girlish  shyness,  having  white  hair  and  a  very 
sweet  melodious  voice,  and  possessing  a  very 
attractive  manner."  He  is  believed  to  have  died 
in  1880,  but  all  attempts  to  discover  the  date  of 
his  decease  have  failed.  There  are,  it  is  said,  a 
dozen  of  his  pictures  in  the  Winter  Palace,  and 
several  others  belong  to  the  leading  families  in 
and  near  to  Moscow.  0.  C.  W. 

TATORAC,  v.,  engraved  a  set  of  one  hundred 
and  fifty  wood-cuts  for  an  edition  of  Ovid's 
'  Metamorphoses,'  published  in  1537 ;  and  a  print 
of  the  'Annunciation,'  for  a  Prayer-bonk  of  1530. 

154 


TATTERSALL,  George.  This  man,  who  is 
well  known  for  his  Guide-book  to  the  Lakes  of 
England,  was  the  son  of  Robert  Tattersall,  the 
founder  of  Tattersalls'.  He  was  an  architect  by 
profession,  but  produced  a  very  large  number  of 
sketches  in  water-colour  or  sepia.  In  his  sporting 
illustrations  which  he  published,  he  assumed  the 
nom  de  plume  of  Wildrake,  and  his  real  name  was 
hardly  known  to  those  who  bought  and  prized  his 
l)Ooks.  His  chief  artistic  work  consists  in  the 
drawings  he  made  to  illustrate  his  Guide  to  the 
Lakes.     He  died  in  1849. 

TAUBERT,  GnsTAV,  painter,  was  born  at  Berlin 
in  1755.  His  father,  an  obscure  painter,  was  his 
first  teacher,  and  he  improved  himself  by  copying 
the  pictures  in  the  Dresden  Gallery.  He  after- 
wards went  to  Warsaw,  where  from  1785  to  1794 
he  painted  portraits  in  pastel  and  historical  pic- 
tures. In  1800  he  went  to  Berlin,  and  became 
superintendent  of  tlie  porcelain  factory,  and  soon 
after  court  painter.  He  became  a  member  of  the 
Berlin  Academy,  and  died  in  that  city  in  1839. 

TAULIER,  John,  (or  Tauler,)  a  native  of 
Brussels,  settled  at  Li^ge  at  the  end  of  the  six- 
teenth century  and  married  Katherine,  daughter 
of  the  painter  Simon  Damery.  He  was  the  master 
of  Renier  Lairesse  and  Gerard  DoufEet.  His 
religious  pictures  were  in  the  manner  of  Martin  De 
Vos.  He  was  also  a  skilful  decorator  and  engraver. 
He  died  in  1640.  W.H.J.  W: 

TAUNAY,  Adrien,  son  of  Auguste  Taunay, 
the  sculptor,  and  nephew  of  Nicolas  Antoine,  held 
the  post  of  second  draughtsman  on  the  French 
corvette'  Uranie.'  A  number  of  his  natural  history 
designs  were  engraved  about  1824. 

TAUNAY,  F^LIX,  painter,  born  in  Paris  about 
1796,  was  the  son  and  pupil  of  Nicolas  Antoine. 
He  accompanied  his  father  on  his  Brazilian  ex- 
pedition, and  on  the  return  of  the  latter  to  France 
remained  in  Brazil,  and  accepted  the  post  of 
Director  of  the  Academy  of  Rio  de  Janeiro,  which 
Nicolas  Taunay  had  founded.  He  painted  chiefly 
Brazilian  scenery.     He  died  in  1881. 

TAUNAY,  Nicolas  Antoine,  painter,  was  born 
in  Paris  in  1755.  He  was  the  pupil  successively 
of  Bronet  and  of  Casanova.  He  was  received  by 
the  Paris  Academy  in  1784,  but  never  became  a 
full  Academician.  Through  the  influence  of  D'Ar- 
genvilliers  he  was  admitted  to  the  privileges  of 
the  Roman  pension  without  competition,  and 
passed  three  years  in  study  in  Rome.  He  was  a 
foundation  member  of  the  Institute  in  1795.  In 
1815  Taunay  went  to  Brazil  with  several  other 
French  artists,  and  founded  an  academy  at  Rio 
Janeiro.  In  1824  he  returned  to  Prance,  and 
painted  in  Paris  till  his  death.  He  painted  several 
of  the  battles  and  victories  of  Napoleon,  and  a 
great  number  of  pictures  in  various  other  genres. 
He  died  in  Paris  in  1830.     Works : 

Montpellier.  Museum,    A  Village  F6te. 

,,  „  A  Game  of  Bowls. 

Paris.  Louvre.    Exterior  of  a  Field  Hospital  Id 

Italy  :  and  several  others. 
Versailles.       Museum.     Battle  of  Ebersberg. 

„  „  Bonaparte  receiving  Prisoners  ou 

the  Battle-field. 
„  „  The  French  Army  descending  the 

Great  St.  Bernard;  and  several 
others. 

TAUPIN,  Maurice  Hippolyte,  painter,  born  in 
France  in  1795.  He  was  a  pupil  of  Budelot,  and 
though  the  author  of  a  few  original  works,  is  best 


PAINTERS  AND   ENGRAVERS. 


known  as  an  excellent  restorer  and  transferrer  oi 
pictures. 

TAUREL,  Andr£  BenoIt,  engraver,  born  in 
Paris  in  1794,  was  a  pupil  of  Bervic,  and  entered 
the  Ecole  des  Beaux  Arts  in  1809.  He  gained  the 
'  Prix  de  Rome  '  in  1818.  His  portrait  of  the  Czar 
Nicholas  I.,  after  Kruger,  was  exhibited  at  the  Salon 
in  1844. 

TAUREL,  Jeak  Jacques,  painter,  born  at  Tou- 
lon in  1757.  He  was  a  pupil  of  Doyen,  and  ex- 
hibited at  the  Salon  from  1793  onwards.  Many  of 
his  works  celebrated  the  exploits  of  the  Republican 
armies.  Among  such  were :  '  The  Heroic  End  of 
the  Vengeur,'  '  Burning  of  the  Port  of  Toulon,  and 
its  abandonment  by  the  English  '  (painted  for  the 
Nation).  His  '  Entry  of  the  French  Army  into 
Naples,  January  21st,  1799,'  is  at  Versailles. 
Many  of  his  pictures  have  been  lithographed.  He 
died  in  Paris  in  1832. 

TAVARONE,  Lazzaro,  painter,  was  horn  at 
Genoa  in  1556.  He  was  a  favourite  disciple  of 
Luca  Cambiaso,  whom  he  accompanied  to  Spain 
in  1583.  He  assisted  him  in  his  great  work  in  the 
Escurial,  and,  after  the  death  of  Cambiaso,  was 
employed  to  finish  the  paintings  left  imperfect  by 
that  master.  He  remained  for  some  years  in  the 
service  of  the  King  of  Spain,  and  returned  rich  to 
Genoa  in  1594.  His  principal  works  there  are  his 
frescoes  in  the  tribune  of  the  cathedral,  represent- 
ing subjects  from  the  life  of  S.  Lorenzo,  and  the 
fagade  of  the  Dogana,  or  Custom-house,  on  which 
he  painted  a  St.  George  and  the  Dragon.  He  also 
painted  scenes  from  the  life  of  "Columbus,  and  the 
victory  of  the  Genoese  at  Antwerp  in  the  Saluzzo 
Palace  at  Albaro.     He  died  in  1641. 

TAVELLA,  Carlo  Antonio,  called  II  Solpa- 
EOLA,  was  born  at  Milan  in  1668.  He  was  a 
scholar  of  Peter  Molyn,  called  II  Tempesta,  whose 
vigorous  manner  he  followed  with  a  spirit  which 
earned  him  the  name  of  II  Solfarola.  He  afterwards 
adopted  a  style  distinguished  by  more  amenity, 
and  became  the  chief  landscape  painter  of  Genoa. 
He  died  at  Genoa  in  1738.  He  had  two  daughters, 
Angiola  and  Teresa,  who  painted  landscapes,  and 
lived  about  the  middle  of  the  18th  century. 

TAVENER,  William,  an  English  amateur 
painter,  born  in  1703,  whose  profession  was  that  of 
a  proctor  in  Doctors'  Commons.  He  painted  land- 
scapes, and  was  further  known  as  the  author  of 
two  plays,  '  The  Maid  tlie  Mistress,'  1732,  and  the 
'  Artful  Husband,'  1735.    He  died  October  20, 1772. 

TAVERNER,  Jeremiah,  an  English  portrait 
painter,  practising  in  the  first  half  of  the  18th 
century.  His  portrait  of  Defoe  was  engraved  by  M. 
Vandergucht,  and  his  own  portrait  by  John  Smith. 

TA VERNIER,  FRANgois,  a  French  historical 
painter,  was  born  in  Paris  in  1659.  He  became  a 
member  of  the  Academy  in  1704,  and  a  professor 
in  1724.  He  sent  three  pictures  to  the  Salon  of 
1704,  and  died  in  Paris,  September  10th,  1725. 

TAVERNTER, ,  painter,  was  born  at  Vannes, 

in  France,  but  passed  the  greater  part  of  his  life  in 
Belgium,  where  he  painted  landscapes,  views  of 
towns,  &c.     He  died  at  Brussels  in  1859. 

TA  VERNIER,  Melchior,  a  French  engraver, 
who  practised  in  Paris  about  the  year  1630.  He 
was  a  print-seller  as  well  as  an  engraver,  and  was 
appointed  engraver  and  copper-plate  printer  to  the 
king  in  1618.  His  prints  are  chiefly  portraits  ; 
but  he  also  engraved  some  ornamental  subjects 
from  his  own  designs.  Among  his  plates  we  may 
name  eight  of  Gardes  Francjaises,  and  fifty-seven 


small    plates   of  'Chevaliers    du    Saint  Esprit'; 
also  : 

A  Bust  of  the  Duke  of  Alen^on,  crowned  with  laurel. 

An  Equestrian  Statue  of  Henry  IV.  of  France  ;  in- 
scribed, Melchior  Tavernier  a  Paris,  graveiir  et  impri' 
meur  du  Roi,  ^c.     1627. 

He  died  in  Paris  in  1641,  at  an  advanced  age. 

TAYLER,  Frederick,  painter,  was  born  on 
April  30,  1802,  at  Barham  Wood,  Hertfordshire. 
He  entered  the  Royal  Academy  Schools,  and  later 
studied  in  Paris  and  in  Italy.  In  1830  he  sent  his 
first  exhibit  to  the  Royal  Academy,  and  subse- 
quently contributed  four  more  works.  At  the 
British  Institution  he  showed  five  pictures,  but 
after  1865  exhibited  only  at  tlie  Royal  Society  of 
Painters  in  Water-Colours,  of  which  lie  was  elected 
Associate  in  1831,  and  a  full  member  in  1834.  His 
exhibits  amounted  to  some  five  hundred  drawings 
and  sketches,  twelve  between  1834  and  1836  being 
painted  in  conjunction  with  George  Barret.  His 
subjects  consisted  of  landscapes,  with  figures  and 
animals,  especially  hunting  and  hawking  parties. 
He  was  a  rapid  and  brilliant  worker.  Rnskin  wrote 
that  "  few  drawings  of  the  present  day  involve 
greater  sensation  of  power.  Every  dash  tells,  and 
the  quantity  of  effect  obtained  is  enormous,  in 
proportion  to  the  apparent  means."  In  1858  he 
was  elected  President  of  his  Society,  and  held  the 
office  till  his  resignation  in  1871.  During  this 
period  his  'Return  from  Hawking'  was  sold  at 
Christie's  for  £465.  In  1844-45  a  set  of  lithotints 
by  him,  with  the  title  'Frederick  Tayler's  Portfolio,' 
was  published  by  McLean.  He  excelled  also  as 
an  etcher,  and  contributed  many  plates  to  the 
publications  of  the  Etching  Club,  which  did  so 
much  to  revive  the  art  in  England.  In  1855  he 
acted  as  a  juror  in  the  Fine  Art  section  of  the 
Paris  Exhibition,  and  was  created  a  Knight  of  the 
Legion  of  Honour.  At  South  Kensington  are  his 
'Otter  Hounds,'  'The  Page  in  Waiting,'  'High- 
land Cattle.'  '  Boy  with  Horses,'  and  '  Weighing 
the  Deer,'  and  three  other  pictures  are  at  Bethnal 
Green  Museum.  Tayler  died  on  June  20,  1889,  at 
his  residence,  63,  Gascony  Avenue,  West  Hamp- 
stead.  His  remaining  drawings  and  sketches  were 
sold  at  Christie's  on  February  17,  1889.  M.  H. 

TAYLOR,  Alexander,  an  English  miniature 
painter,  who  was  an  occasional  exhibitor  at  the 
Royal  Academy  from  1776  to  1796. 

TAYLOR,  Charles,  an  English  engraver,  born 
in  London  in  1748.  He  studied  under  Bartolozzi, 
and  produced  many  plates  after  Angelica  Kaufi"- 
mann.  His  works  appeared  at  the  Incorporated 
Society  between  1776  and  1782. 

TAYLOR,  Edward  CLonan,  amateur,  of  Kirk- 
ham  Abbey,  Yorkshire,  has  left  a  number  of  clever 
etchings.  He  was  a  graduate  of  Trinity  College, 
Cambridge,  taking  his  M.A.  in  1814.  He  died  in 
1851,  aged  sixty-tive. 

TAYLOR,  Isaac,  an  English  engraver,  born  at 
Worcester  in  1730.  In  the  early  part  of  his  career 
he  worked  successively  as  a  brass-founder,  as  a 
silversmith,  and  as  a  surveyor.  Then  devoting 
himself  to  engraving,  he  found  much  employment 
in  book  illustration,  for  which  he  frequently  fur- 
nished the  designs.  His  best  work  was  done 
for  an  edition  of '  Sir  Charles  Grandison.'  Many 
of  his  plates  are  to  be  found  in  the  '  Gentleman's 
Magazine.'  From  1774  to  its  dissolution,  he  acted 
as  secretary  of  the  Incorpdrated  Society  of  Artists, 
where  many  of  his  works  appeared.  He  died  at 
Edmonton,  October  17th,  1807 

155 


A   BIOGRAPHICAL  DICTIONARY  OF 


TAYLOR,  Isaac,  the  son  of  the  last-named,  and 
an  English  engraver,  was  born  in  London  about 
1750.  He  studied  under  Bartolozzi,  and  worked 
much  for  Alderman  Boydell,  for  whose  Bible  he 
made  designs.  Before  he  was  forty  he  retired  into 
Suffolk,  and  passed  the  remainder  of  his  life  as  a 
dissenting  minister.  He  was  the  father  of  Jane 
and  Ann  Taylor,  the  writers  of  'Original  Poems.' 
He  died  at  Ongar,  December  11th,  1829.  Amongst 
his  best  plates  are: 

Henry  the  Eighth's  First  Sight  of  Anne  Bolejn  ;  after 

Stothaid. 
Falstaff  and  his  Tormentors  ;  after  SmirJ^e. 
Assassination  of  £izzio ;  after  Opie.    1791. 

TAYLOR,  Isidore  Justin  S6v£rin,  Baron, 
painter,  engraver,  and  art-writer,  was  bom  at 
Brussels,  of  French  parents,  in  1789.  He  studied 
at  the  Ecole  Polyteohnique,  but  afterwards  became 
the  pupil  of  Suvee,  and  attracted  notice  by  various 
articles  on  art  matters.  In  1811  he  visited  Bel- 
gium, Holland,  Germany,  and  Italy,  but  the  events 
of  the  day  recalled  him  to  France,  and  he  served 
for  some  time  in  the  army,  notably  in  the  Spanish 
campaign  after  the  Bourbon  restoration.  On  the 
conclusion  of  peace  he  retired  from  military  life, 
and  resumed  his  art  work.  It  was  at  his  instance 
that  negotiations  were  opened  with  the  Pacha  of 
Egypt  for  removal  of  the  Luxor  obelisk,  and  its 
erection  in  the  Place  de  la  Concorde  as  a  monu- 
ment to  the  French  victories  in  Egypt.  Taylor 
was  despatched  to  Egypt  on  this  errand  in  1830. 
He  exhibited  occasionally  at  the  Salon,  and  some 
of  his  books  of  travel  were  illustrated  with  his  own 
plates,  as  'Voyages  Pittoresques  en  Espagne,  en 
Portugal,  et  sur  la  cote  dAfrique '  (1826-1832). 
He  founded  the  Association  des  Artistes  in  1844, 
was  several  times  premiated,  became  a  member  of 
the  'Institut'  in  1847,  and  a  senator  in  1869.  He 
died  in  Paris,  September  Gth,  1879. 

TAYLOR,  James,  an  English  engraver,  born  at 
Worcester  in  1745.  He  was  the  younger  brother 
of  the  elder  Isaac  Taylor,  with  whom  he  worked. 
Anker  Smith  was  his  pupil.  He  exhibited  at  the 
Incorporated  Society  between  1770  and  1776.  He 
died  in  London  in  1797. 

TAYLOR,  John,  an  English  portrait  painter,  who 
practised  at  Oxford  in  the  17th  century.  He  was 
the  nephew  of  Taylor,  the  water-poet.  His  por- 
traits of  his  uncle  (painted  in  1655)  and  of  himself 
are  in  the  Bodleian. 

TAYLOR,  John,  an  English  marine  and  land- 
scape painter,  was  horn  about  the  middle  of  the 
18th_century,  at  Bath.  He  practised  in  London  as 
a  painter,  and  also  etched  a  few  plates.  He  died 
at  his  native  place  in  1806. 

TAYLOR,  John,  known  as  'Old  Taylor,'  bom 
in  London  in  1739,  was  the  son  of  an  officer  in  the 
Customs,  and  a  scholar  of  Francis  Hayman.  His 
early  practice  was  that  of  taking  likenesses  in 
pencil,  but  afterwards,  by  the  advice  of  his  friends, 
Paul  Sandby  and  J.  A.  Gresee,  he  adopted  the 
business  of  teaching.  By  this  he  accumulated  a 
sufficient  sum  to  retire  with  comfort.  He  used 
to  be  called  the  father  of  the  Engli.sh  school,  as 
he  was  an  original  member  of  the  Society  of  In- 
corporated Artists,  and  survived  all  the  rest.  He 
died  in  London  on  the  Slst  of  November,  1838. 

TAYLOR,  John,  an  English  painter,  perhaps  an 

amateur,  to   whom,   as  well   as   to   Burbage   the 

actor,  the  Chandos  portrait  of  '  Shakespeare  '  has 

been  ascribed.    That  portrait  has  been  traced  back 

156 


to  the  hands  of  Joseph  Taylor,  who  is  believed  to 
have  been  the  6r8t  impersonator  of  Hamlet ;  John 
Taylor  is  said  to  have  been  his  brother.  The 
Chandos  portrait  is  now  in  the  National  Portrait 
Gallery.  See  Elze's  'WiUiam  Shakespeare'  (trans- 
lated by  L.  D.  Sohmit ;  pp.  263,  559,  561). 

TAYLOR,  Peter.     It  is  not  very  clear  whether 

this  artist's  name  was  Peter  or  Patrick.     He  was 

born  in  1756,  and  died  in  1788.     His  artistic  work 

was  not  of  a  high  order,  but  he  will  be  remembered 

by  reason  of  the  fact  that  Robert  Burns  gave  him 

several  sittings  for  a  portrait,  which  can  now  be 

seen  at  the  Scottish  National  Portrait  Gallery,  and 

was  engraved  in  1830.     It  is  one  of  the  very  few 

portraits  of  the  poet  actually  painted  from  sittings. 

Taylor  was  concerned  in  the  foundation  of  works 

for  the  manufacture  of   what  is  now  known  as 

'  floor-cloth   and    linoleum,    but    which   was    then 

I  called    wax-cloth.     He   did    his   best   in   1788   to 

establish  a  manufactory  of  this  material,  but  was 

not  very  successful,  although  after  his  death  the 

i  work  was  carried  on,  and  is  now  one  of  the  most 

'  flourishing  of  Scottish  industries.     He  overtaxed 

his  strength  in  this  work,  had  to  go  to  the  South  of 

France,  but  died  on  his  way  to  the  Riviera. 

TAYLOR,  Simon,  an  eminent  painter  of  botanical 
subjects,  was  employed  by  Lord  Bute  about  1760; 
and  afterwards  by  Dr.  Fothergill.  The  collection 
of  plants  he  painted  for  the  latter  was  sold  to  the 
Empress  of  Russia  for  £2000 ;  those  he  painted  for 
Lord  Bute  were  sold  by  auction  in  1794,  and  are 
now  to  be  found  in  various  collections.  It  is  be- 
lieved that  Taylor  died  in  1798. 

TAYLOR,  Thomas,  an  English  engraver  and 
print-seller,  who  practised  in  London  from  1680  to 
1720. 

TAYLOR,  Thomas,  an  English  engraver,  who 
flourished  towards  the  end  of  the  18th  century. 
He  engraved  several  plates  for  the  collections 
published  by  Boydell,  among  them  the  following  ; 

Henry  VIII. ;  after  Opie.  (For  the  Shakespeare  Gallery.) 
Democritus  and  Protagoras ;  after  Salv.  Rosa. 
A  Flemish  Collation  ;  after  Van  Harp. 
Two  emblematical  Vignettes  from  the  designs  of  J. 
Guyn. 

TAYLOR,  William  Dean,  an  English  line  en- 
graver, born  in  1794,  who  obtained  a  considerable 
reputation.  He  died  in  1857.  His  best  plates 
are: 

Acis  and  Galatea  ;  after  E.  Cook. 

The  Duke  of  WelUngton ;  after  Sir  T.  Lawrence. 

TAYLOR,  William  B.  Sarsfield,  a  landscape 
and  battle  painter,  born  at  Dublin  in  1781.  His 
early  years  were  spent  in  the  Army  Commissariat, 
and  he  served  in  the  Peninsula.  Devoting  himself 
to  art,  he  exhibited  at  the  Royal  Academy  and  the 
British  Institution  between  1820  and  1847.  During 
his  latter  years  he  was  curator  of  the  St.  Martin's 
Lane  Academy.  As  a  painter  he  did  not  achieve 
much  reputation ;  but  he  became  known  as  an  art 
writer.     He  died  in  1850. 

TEDESCO,  Adamo.     See  Elsheiwer. 

TEERLINK,  Abraham,  a  Dutch  landscape  and 
animal  painter,  was  baptized  at  Dordrecht  in  1776. 
His  studies  were  directed  by  Versteeg'  and  Arie 
Lamme.  He  spent  some  time  in  1808  in  England, 
and  also  in  France,  where  he  received  advice  from 
David.  The  latter  part  of  his  life  was  passed  at 
Rome,  where  he  died  in  1857.     There  are  by  him  : 

Amsterdam.  R.  Museum.     Italian  Landscape.     1823. 
„  „  Cascade  at  Tivoli.     1824. 

Munich.  Pinakothek.     View  of  Aricia. 


PAINTERS  AND  ENGRAVERS. 


TEGLIAUCIO,  Niccol6  di  Ser  Sozzo,  a  Sienese 
miniaturist,  who  fluurislied  about  the  middle  of  the 
14th  century,  and  died  in  1363.  His  only  known 
work  is  an  '  Assumption,'  forming  the  frontispiece 
to  the  'Codex  Caiefio,'  in  the  Archi\-io  Delle 
Riformasioni,  at  Siena. 

TEICHEL,  WiLHELM,  engraver,  born  at  Berlin 
in  1815,  executed  the  following  plates : 

A  Koman  Woman  with  a  Child  in  her  Lap ;  after  E. 
Dciye. 

Italian  Country  Girl ;  after  Roqueplan. 

A  Hartz  Mountain  Girl ;  after  E.  Meyerheim. 

Frederick  the  Great ;  after  Kaulbach. 

He  died  in  1873. 

TEISSIER,  Jan  Georg,  born  at  the  Hague  in 
1750,  painted  portraits  and  landscapes  in  a  very 
respectable  manner,  but  was  better  known  as  a 
copyist  and  restorer  of '  old  masters.'  He  had  suffi- 
cient merit  to  win  him  a  place  on  the  direction 
of  the  Hague  Academy  of  Design,  and  on  that  of 
the  Museum.     He  died  at  the  Hague  in  1821. 

TEISSIER,  Jeak,  a  French  engraver,  who 
practised  in  Paris  about  1770.  He  was  a  scholar 
of  Philip  le  Bas  ;  among  his  plates  we  may  name : 

Les  Mangeurs  de  Hultres  ;  after  Benard. 

Le  Marchand  de  Poissons  de  Dieppe  ;  after  the  same. 

TEJA,  Casimiro,  Italian  black-and-white  artist ; 
born  at  Turin  in  1830  ;  studied  at  the  Albertine 
Academy ;  became  famous  as  a  caricaturist,  and 
contributed  to  the  leading  humorous  papers,  such 
as  the  '  Mosca,'  '  Pasquino,'  and  '  Fischietto.'  He 
died  at  Turin,  October  22,  1897. 

TEJADA,  Moreno,  a  Spanish  engraver,  who 
made  some  plates  for  the  quarto  edition  of  the  'Con- 
quest of  Mexico,'  published  at  Madrid  in  1783. 

TELBIN,  William,  one  of  the  most  successful 
of  English  scene-painters,  was  bom  in  1813.  One 
of  his  best  works  was  his  drop-scene  for  the  '  Over- 
land Route,'  at  Drury  Lane  theatre.  He  was  a 
member  of  the  Institute  of  Painters  in  Water-Colours, 
though  not  a  contributor  to  their  exhibition,  and 
exhibited  on  rare  occasions  at  the  Royal  Academy 
and  British  Artists'  Gallery.  Towards  the  close 
of  his  life  he  became  a  confirmed  invalid,  having 
suffered  much  from  shock  at  the  death  of  a  son 
killed  by  an  avalanche  in  the  Alps.  He  died  in 
1873. 

TELLIER,  Jean  le.    See  Letellier. 

TELMAN  VON  WESEL,  a  German  engraver,  of 
whose  personal  history  very  little  is  known.  He 
was  a  goldsmith  engraver,  working  at  Wesel  in 
the  first  years  of  the  16th  century.  The  British 
Museum  has  a  collection  of  circular  playing  cards 
by  him,  and  the  three  following  plates  may  also  be 
named  : 

The  Virgin  and  Child  on  the  crescent  moon,  with  a 
Knight    adoring  ;    Signed  :     Teleman  "  op  ■  den  •  bich  ' 

GOLTSMIT  •   OF  *  PBENTESKIER  '  TO  "  WESEL.   and  with  the 

letters  T.  W. 
St.  Christopher. 
St.  Crispin  and  St.  Crispinian. 

TEMINI,  Giovanni.  The  name  of  this  engraver 
is  afBxed  to  a  portrait  of  Carlo  Gonzales,  Duke  of 
Mantua,  which  is  dated  1622. 

TEMMEL,  (Tommel,)  Anton,  painter,  was 
a  native  of  Silesia,  and  flourished  in  the  first  part 
of  the  19th  century.  He  studied  first  at  the 
Munich  Academy  and  afterwards  at  Rome,  where 
he  remained  for  some  time  making  copies  of  the 
old  masters,  such  as  the  '  Madonna  di  Foligno,' 
and  'Transfiguration,' after  Raphael;  '  Aurora,' after 
Guido  Reni;  'Diana,'  after  Domenichino.  His 
last  work  was  a  copy  of  Raphael's '  Dispute  of  the 


Sacrament,'  for  the  King  of  Prussia.  He  died  at 
Rome  in  1841. 

TEMMINGK,  H.  C,  a  Dutch  female  painter,  by 
whom  there  is  a  picture  in  the  Rijks  Museum  at 
Amsterdam.  She  was  painting  about  1841,  but 
nothing  is  known  of  her  life  except  that  she  was 
the  pupil  of  L.  H.  de  Fontenay. 

TEMPEL.     See  Van  den  Tempel. 

TEMPEST,  Pierce,  an  English  mezzotint  en- 
graver, was  born  about  the  middle  of  the  17th  cen- 
tury. He  was  pupil  and  assistant  to  Hollar.  With 
engraving  he  combined  the  trade  of  print-selling. 
He  is  best  known  by  his  '  Cries  and  Habits  of 
London,'  (50  plates,)  after  Old  Laroon,  published 
in  1688.  He  also  published  a  translation  of  C. 
Ripa's  '  Iconologia,'  in  1709.  He  died  in  London 
in  1717.     Amongst  his  plates  are  : 

Charles  I. ;  after  Van  Dyck. 

Charles  II. 

Nell  Gwyn. 

James  II.  ;  after  Lely. 

Mary  of  Modena,  Queen  of  James  11. ;  after  the  same. 

Sir  T.  Killigrew. 

Roger  L'Estrange. 

Ernest,  Count  Starembergh. 

"William,  Prince  of  Orange. 

William  III. 

Portrait  of  himself,  with  the  motto  Cavete  voKs  Frincipes. 

Andromeda;  after  An.  Carracci. 

Susannah  and  the  Elders  ;  after  Corm  lissen  (?). 

TEMPESTA,  Antonio,  born  at  Florence  in  1555, 
was  first  a  disciple  of  Santi  di  Tito,  but  after- 
wards studied  under  Stradanus.  His  favourite 
subjects  were  battles,  cavalcades,  huntings,  and 
processions,  which  he  composed  well,  and  painted 
with  spirit.  During  a  long  residence  at  Rome  he 
was  much  employed  by  Gregory  XIII.  in  the  gallery 
and  loggie  of  the  Vatican ;  and  by  the  Marchese 
Giustiniani  in  the  decorations  of  his  palace.  He 
also  drew  many  designs  for  tapestries.  In  the 
church  of  S.  Stefano  Rotondo  there  is  a  fine  'Murder 
of  the  Innocents '  by  Tempesta.  He  also  left  some 
1800  etchings.  With  the  exception  of  occasional 
extravagance  in  design,  they  are  very  able  perform- 
ances.    He  usually  marked  his  plates  with  one  of 

these     monograms,     ^\_ ,     /hi •     _Pj .  t*  A- 

Among  his  numerous  prints  are  the  following : 

A  set   of  plates  from  the  Old   Testament,  generally 

called  Tempesta's  Bible. 
Twenty-four  plates  from  the  Life  of  St.  Anthony. 
A  set  of   one   hundred  and  fifty  prints   from    Ovid's 

'  Metamorphoses.' 
The  Labours  of  Hercules  ;  tliirteen  plates. 
The  Ages  of  Man  ;  four  plates. 
The  Entry  of  Alexander  into  Babylon. 
Diana  and  Actjeon. 

The  Crucifixion  ;  inscribed  Ant.  Tempestas.  1612. 
Many  plates  of  Battles,  Hunts,  and  Cavalcades. 

He  died  at  Florence  in  1630. 

TEMPESTA,  (Tempesting,)  Domenico.  See 
March  I. 

TEMPESTA,  Pietro.    See  Moltn,  Pieter. 

TEMPESTI,  Giovanni  Battista,  bom  at  Vol- 
terra  in  1729,  studied  in  Pisa  and  Rome.  On 
his  return  from  Rome  to  Pisa  he  painted  for  the 
church  of  S.  Domenico  scenes  from  the  life  of 
S.  Chiara  Gambacorti,  and  for  the  cathedral  the 
'  Celebration  of  Mass  by  Pope  Eugenius  III.'  He 
painted  the  music-hall  in  the  Pitti  Palace  at 
Florence  for  Leopold  I.,  also  several  frescoes  in 
palaces  and  villas  in  Pisa.  His  largest  fresco  is  the 
'  Last  Supper,'  in  the  cathedral  of  Pisa ;  his  best, 
perhaps,  the  '  Death  of  S.  Ranieri,'  in  the  Oratory 

157 


A   BIOGRAPHICAL  DICTIONARY  OF 


of  S.  Vito,  where  his  oil  painting,  the  '  Martyrdom 
of  S.  Ursula,'  is  also  to  be  seen.  He  died  at  Pisa 
in  1804. 

TEMPLE,  W.  W.,  wood  engraver,  was  one  of 
Bewicli's  apprentices.  For  his  master's  '  British 
Birds '  he  engraved  the  plates  of  the  rougli-legged 
falcon,  pigmy  sandpiper,  red  sandpiper,  and  the 
eared  grebe.  He  never  practised  independently, 
for  at  the  close  of  his  apprenticeship  he  gave  up 
art  and  went  into  business  as  a  linen-draper. 

TEMPLETOWN,  Lady.  ELIZABETH,  fifth 
child  of  Sir  W.  Shuckworth  Boughton,  Bart.,  of 
Poston  Court,  Hereford,  by  his  marriage  in  1731) 
with  Miiry  Greville,  was  bojn  in  17 — ■ ;  she  married 
August  25,  1769,  Clotworthy  Upton,  Clerk  Comp- 
troller to  the  Princess  Dowager  of  Wales.  He 
was  created  Baron  Templetown  of  Templetown, 
County  Antrim,  in  1776,  and  died  April  16,  1785. 
L;idy  Templetown  was  endowed  with  artistic 
talent  of  a  high  order,  and  stands  in  the  first 
rank  of  those  gifted  amateurs  who  did  such  good 
workintheeigliteenth  century.  She  chiefly  excelled 
in  cut-paper  work,  and  is  best  known  by  Wedg- 
wood's reproduction  of  her  graceful  and  chissical 
designs.  Among  the  most  often  reproduced  of 
these  we  find  : 

The  Sicrifice  to  Peace. 

Friendship  consoling  Affliction. 

Domestic  Employment. 

Maternity  and  Childhood. 

Sterne's  Maria. 

Charlotte  .it  the  Tomb  of  Werther. 

A  Bourbonnais  Shepherd. 

Sportive  Love. 

Groups  of  Children. 

Her  designs  were  frequently  signed  on  the  back 

with  the  initials  '  \\-  Wedgwood  often  expressed 
himself  very  much  pleased  with  her  designs,  the 


first  of  which  were  sent  to  him  on  June  27,  1783, 
and  were  used  to  decorate  the  Queen's  opera  glass. 
One  of  these  represented  Sterne's  '  Maria,'  and  the 
other  a  '  Bourbonnais  Shepherd.'  Dr.  Smiles,  in  his 
'  Life  of  Wedgwood,'  says  :  "  Had  Lady  Temple- 
town been  a  poorer  woman  she  might  have  made 
a  fortune  by  her  wonderful  gifts."  The  South 
Kensington  Museum  has  a  landscape  by  her  hand 
executed  in  Indian  ink  on  a  water-colour  tint,  and 
she  was  also  a  skilful  modeller.  Specimens  of 
this  side  of  her  art,  as  well  as  the  cut-paper 
designs,  which  she  is  said  to  have  executed  with- 
out any  preliminary  sketch,  are  at  Castle  Upton. 
There  are  two  portraits  of  Lady  Templetown  at 
Castle  Upton  ;  one  is  by  an  unknown  artist,  and 
represents  her  as  a  young  woman,  and  the  other 
is  by  Downman,  and  is  taken  at  a  later  date.  She 
was  a  woman  of  great  force  of  character,  and  did 
much  to  improve  the  properly  during  the  minority 
of  her  son,  who  married  Lady  Wortley  Montagu 
in  1796,  and  was  created  first  Viscount  Temple- 
town in  1806.  Lady  Templetown  spent  much  of 
her  time  at  Rome  in  the  latter  part  of  her  life,  and 
died  in  September  1823.  B.  E. 

TEMPORELLO,  II.     See  Caselli. 

TEN  CATE,  Hkndrik  Gerrit,  a  Dutch  painter, 
was  born  at  Amsterdam  in  1803.  He  painted  town 
views,  winter  scenes,  &c.,  with  moderate  ability. 
He  died  in  1856. 

TEN  COMPE,  Jan,  born  at  Amsterdam  in  1713, 
was  a  scholar  of  Dirk  Dalens  the  younger.  He 
painted  landscapes,  river  scenes,  views  of  cities  and 
vill.iges,  among  which  were  several  different  views 
of  the  Hague.  His  best  pictures  approach  those 
of  Berck-Heijde  and  Van  der  Heijde.  He  died  in 
1761. 

TENIERS  :  the  pedigree  of  the  Teniers  family 
is  thus  given  by  Wauters  : 


Jullftn  Tenlerfl,  or  Taisner.  of  Ath. 
settled  in  Antwerp  1668 ;  died  1686. 


Julian  ni ), 
1672-1616. 

David  (I ). 
16S2— 1649. 

Julian  nil),              Theodore 'id, 
master  in  1636.            master  in  1636. 

David  (II.),        Julian  (IV.),        Theodore  (II.) 
1610-16ilO.              1616— lera.                1619—1697. 

Abraham, 
1629-1670, 

David  (III.),                            Cornelia. 
1638—1685.              mar.  J.  Erasmus  (^uellinus. 

David  aV). 
1072—1771. 

TENIERS,  Abraham,  the  younger  brother  of 
David  Teniers  the  Younger,  was  born  at  Antwerp 
in  the  year  1629,  and  instructed  in  art  both  by  his 
father  and  brother.  He  painted  Flemish  festival.'^ 
in  the  style  of  David  Teniers  the  Younger,  and 
though  his  pictures  are  inferior  both  in  the  colour 
and  handling,  they  are  sometimes  mistaken  for  the 
productions  of  his  brother.  There  are  by  him  four 
pictures  (one  dated  1662) :  one  in  the  Gallery  at 
Mannheim,  two  in  the  Harrach  Gallery  at  Vienna, 
and  one  at  Dresden.     He  died  in  1670.        W.  M. 

TENIERS,  David,  the  Elder,  was  born  at  Antwerp 
in  1582.  His  father  was  one  Julian  Teniers,  a 
mercer,  who  died  in  1585,  leaving  also  an  elder 
son  Julian,  who  was  David's  first  master.  The 
latter  afterwards  entered  the  school  of  Rubens. 
He  for  some  time  applied  himself  to  historical 
painting,  and  visited  Italy.  His  genius  leading 
him  to  landscape  painting,  he  placed  himself  under 
the  tuition  of  Adam  Elsheimer  at  Rome,  and 
studied  under  that  master  for  six  years.  On  his 
return  to  Antwerp,  where  he  became  a  member  of 
the  Painters'  Guild  in  1606,  he  painted  great  re- 
ligious pictures,  but  more  and  more  rural  sports, 

158 


merry-makings,  temptations  of  St.  Anthony,  for- 
tune-tellers, &c.  He  treated  those  subjects  with 
considerable  humour  and  ingenuity,  but  his  fame 
has  been  eclipsed  by  that  of  his  son.     Works  : 


Temptation  of  St.  Anthony. 

Landscape. 

'  Hexenauszug.'       (Signed   and 

dated  1633.) 
A  Village  Fair,  and  six  less  im- 
portant examples. 
A  Kocky  Landscape. 
A  Village  Scene. 
Playing  at  Bowls. 
A  Kocky  Landscape. 
Village  Scene,  with  Peasant. 
A  Painter  in  his  Studio. 
Two  Landscapes. 
Juno,  Jupiter,  and  lo. 
Vertumnus  and  Pomona, 
Pan,  Nymph,  and  Satyr. 
Four  Landscapes. 


The  following  etchings  are  ascribed  to  the  elder 
Teniers  : 


Berlin. 

Brussels. 

Douai. 

Museum. 
Museum, 
Museum. 

Dresden. 

Gallery. 

Loudon. 

Nat,  Gall, 

Munich. 

»» 

» 
Gallery. 

Petersburg. 

Hermitage 

Vienna. 

Gallery. 

A  Pilgrim,  with  his  staff  and  chaplet. 


Q 

o 


en 


S 


DAVID  TENIERS  THE  YOUNGER 


U'mi/I'idj  Co.  f/iii/o'] 


[Anliaerp  Gallery 


AN  AGED  WOMAN 


PAINTERS  AND   ENGRAVERS. 


A  Peasant  putting  a  plaster  on  his  band. 
Bust  of  a  Peasant  with  a  fur  cap. 

He  died  at  Antwerp  in  1649.  W.  Jr< 

TENIERS,  David,  the  Younger,  was  born  at 
Antwerp  in  1610,  and  baptized  in  the  church  of  St, 
Jacques  on  December  15.  His  father  was  David 
Teniers  the  Elder,  hia  mother  Dympne  Cornelissen 
de  Wilde,  the  daughter  of  a  captain  working  on 
the  Scheldt.  There  is  no  record  of  the  year  in 
which  his  apprenticeship  to  art  began,  or  of  the 
master  who  first  taught  him.  This,  however,  was 
no  doubt  his  fatlier,  of  whose  style  the  son's  is,  in 
fact,  a  sublimation.  It  has  often  been  said  that 
after  leaving  the  paternal  studio,  he  worked  first 
under  Brouwer  and  afterwards  under  Rubens. 
But  of  this  no  proof  is  forthcoming.  Teniers  and 
Rubens  were,  it  is  known,  intimate  friends,  but  the 
friendship  does  not  seem  to  have  begun  until  after 
the  former  had  been  received  as  a  master  by  the 
Corporation  of  St.  Luke  (1633).  It  may  have  had 
its  origin  in  the  choice  of  a  wife  made  by  Teniers. 
On  July  22,  1637,  he  married  Anne,  the  daughter 
of  Jan  Brueghel,  and  a  pupil  of  Rubens.  She  had 
been  baptized  in  1620,  so  cannot  have  been  more 
than  seventeen  years  of  age.  By  her  Teniers  had 
five  children,  two  sons  and  three  daughters.  Anna 
died  in  1656,  and  six  niontlrg  later  Teniers  married 
Isabel,  the  daughter  of  Andreas  de  Fren,  secretary 
to  the  Council  of  Br.ibant.  By  her  he  had  three 
children,  two  sons  and  a  daughter. 

It  is  said,  upon  doubtful  authority,  that  at  first 
Teniers  was  unsuccessful  as  a  painter,  and  had 
much  difficulty  in  selling  his  pictures.  If  this  were 
the  case  at  all,  it  can  only  have  been  for  a  very 
short  time,  as  by  the  date  of  his  first  marriage  he 
must  have  been  in  comfortable  circumstances.  In 
1644-5  he  was  Dean  of  the  Guild  of  St.  Luke,  and 
was  appointed  painter  to  the  governor.  Archduke 
Leopold  William,  who  loaded  him  with  gifts  and 
commissions  and  named  him  Director  of  his  Picture 
Gallery  at  Brussels.  Teniers  set  himself  to  make 
copies  of  the  pictures,  more  than  two  hundred  in 
number,  in  the  Archduke's  collection,  and  after- 
wards published  plates  from  them.  The  Archduke's 
successor,  Don  Juan  of  Austria,  the  natural  son  of 
Philip  IV.,  confirmed  Teniers  in  his  post,  and  even, 
it  is  said,  practised  art  under  his  tuition.  How- 
ever this  may  be,  it  is  certain  that  his  father, 
Philip  IV.,  conceived  a  great  admiration  for  the 
Flemish  master,  and  acquired  those  exainples  of 
his  art  which  make  the  Madrid  Gallery  so  rich  in 
the  work  of  Teniers.  According  to  Cornelius  de 
Bie,  he  also  found  favour  with  Queen  Christina  of 
Sweden,  who  sent  him  a  gold  chain  and  her  por- 
trait, and  was  sent  to  England  to  buy  Italian 
pictures  for  the  Count  of  Fuensaldagne. 

In  1660  Teniers  migrated  from  Antwerp  to 
Brussels,  becoming  owner  also  of  the  famous  coun- 
try-house near  Perck,  of  wliich  we  catch  so  many 
glimpses  in  his  pictures. 

In  1663  Teniers  took  an  active  part  in  founding 
the  Antwerp  Academy  of  the  Fine  Arts.  In  the 
same  year  he  solicited  admission  to  the  ranks 
of  the  noblesse,  declaring  his  family  to  be  ''honor- 
able, originaire  de  Haynaut,  earlier  d'Ath,"  and 
describing  the  shield  they  had  'de  tout  temps 
port6,'  thus:  "Argent,  a  un  ours  au  naturel,  au 
chef  d'azur,  k  trois  glands  d'or  ranges  ;  le  heaume 
ouvert  et  treill6,  bourrelet  et  hachements  d'argent 
et  d'azur ;  cimier,  un  ours  naissant  au  blason  de 
r6cu,  tenant  en  sa  patte  droite  un  gland  d'or." 
The  result  of  his  appeal  seems  to  have   been  a 


recommendation  that  it  should  be  granted,  on  con- 
dition that  he  no  longer  publicly  exercised  his 
profession  for  gain.  This  condition,  perhaps,  was 
fatal,  for  no  more  is  heard  of  his  nobility.  Teniers 
died  at  Brussels  on  the  5th  April,  1694,  and  was 
interred  at  Perck,  in  the  neighbourhood  of  his 
chateau  of  Dry  Toren.  His  second  wife,  Isabel, 
had  preceded  him  to  the  grave. 

The  pictures  of  Teniers  are  innumerable.  He 
painted  nearly  every  kind  of  subject,  but  his  finest 
art  is  confined  to  scenes  from  peasant  life,  which 
lend  themselves  most  thoroughly  to  his  faculty  for 
rapid  creation,  for  incisive,  dexterous  handling,  and 
for  the  cooler  harmonies  of  colour.  Smith's  cata- 
logue enumerates  nearly  seven  hundred  pictures 
by  his  hand,  and  every  important  museum  pos- 
sesses a  selection.  In  the  following  list  only  the 
more  important  and  more  accessible  are  included : 
Amsterdam,  R.  Museum.  The  Guard-room. 
„  „  The  Hour  of  Kest. 

„  „  The  Village  Inn. 

„  „  The  Temptation  of  S.  Anthony. 

„  „  Kermesse. 

„  „  The  Farm. 

„  „  The  Players. 

Antwerp.  Museum.     Panorama  of  Valenciennes. 

„  „  Flemish  peasants  drinking. 

„  „  Morning. 

„  „  Afternoon. 

„  „  Old  Woman  cutting  Tobacco. 

BerUn.  Gallery.     An  Alchemist  in  his  Laboratory. 

,,  „  The  Backgammon  Players. 

„  „  Teniers  and  his  Family. 

„  „  Temptation  of  S.  Anthony. 

„  „  The  Sacrament  of  the  Miracle 

of  S.  Gudula. 
„  „  A  Party  at  Table. 

„  „  Kermesse. 

„  The  Rich  Man  in  Hell. 

Brussels.  Museum.     The  Five  Senses. 

„  „  Tlie  Village  Doctor. 

„  „  Flemish  Landscape. 

„  „  Kermesse. 

„  „  Interior  of  the  Archduke  Leo- 

pold William's  Gallery. 
„  „  Temptation  of  S.  Anthony. 

„  „  Portrait  of  a  Mau  in  black. 

Dresden.  Gallery.    A   Village    Fair   (signed    and 

dated  1641). 
„  „  Peasants  in  au  Alehouse. 

„  „  A  Young  Man  sitting  near  an 

overturned  cask. 
„  „  Guard-room,  with  Deliverance 

of  S.  Peter. 
,,  „  Peasants  drinking  and  playing 

Cards. 
„  „  Great  Kermesse. 

„  „  Peasants  at  Dinner. 

And  sixteen  others. 
Dublin.        Nat.  Gallery.     Hustle  Cap. 

„  „  Peasants  merrymaking. 

Dulwich.  Gallery.     The  Prodigal  Sou  as  Swineherd. 

„  „  Brickmaking  in  a  landscape. 

,^  Figure  of  a  Pilgrim. 

''  „  Figure  of  a  Female  Pilgrim. 

„  A  White   Horaa  with  a  Chaff- 

cutter, 
jj  „  A  Castle  and  its  Proprietor. 

,,  „  The  Guard-room. 

Ediuburgh.      Nat.  Gall.     Peasants  Playing  Skittles. 
Florence.  Vffid.     S.  Peter  weeping  (pasticcio). 

,,  „        Man  and  Old  Woman  at  an  Inn. 

Glasgow.  Gallery.    Woody  landscape. 

„  „  Flemish  landscape. 

„  „  Milkiug-tinie. 

„  „  A  Hunting  Party. 

„  „  The  Miseries  of  War. 

„  „  Jealousy. 

„  „  A  Surgical  Case. 

„  „  S.  Jerome. 

„  „  Feasants  before  a  Fire. 

159 


A  BIOGRAPHICAL  DICTIONARY  OF 


Glasgow.  Gallery.     Landscape  with  figures. 

And  three  others^ pasticeios. 
Hague.  Museum.    The  Alchemist. 

,,  „  Kitchen  Interior. 

Hampton  Court.  Palace.     Interior  of  a  Farm. 

And  several  copies  and  pasticcios. 
London.  JVot.  Gall.     A  Music  Party. 

„  „  Boors  regaling. 

„  „  The  Misers. 

jj  „  Players  at  Tric-trac. 

„  An  Old  Woman  peelin;?  a  Pear. 

"  „  Teniers'  Chateau  at  Perck. 

J  „  TheFourSeasons(/oMr^'rt«n;3). 

„  „  River  Scene. 

„  The  Surprise. 

Dives,  or  the  Eioh  Man  in  Hell. 
|[  „  The    Village    FSte   (Fete    aux 

Chaudrons). 
„  „  The  Toper. 

„  Bndgewater  Gall.    Alchemist  in  his  Lahoratory. 
„  „  Village  Wedding. 

„  „  Kermesse. 

„  „  Peasants  playing  Cards. 

„  „  Boors  playing  Cards. 

„  „  Same  subject. 

I,  „  A  View  in  Flanders— Winter. 

„    Buckinyham  Pal.     Dutch  Peasants  Merry-making. 
„  „  Boors  playing  Cards. 

jj  ,,  Kitchen  Interior. 

^  J,  Landscape  with  a  Chateau  and 

Figures. 
J,  „  Le  Tambour  Battant. 

^  ^  The  Alchemist. 

And  others. 
„  St.  John's  1  Robbers   plundering    a    Farm- 

Lodye.  f      house. 
„  „  Card  Players. 

„  „  Landscape       with        Peasants 

carousing. 
Madrid.  Gallery.     The  Ninepins'  Players. 

„  „  A  Village  Festival. 

„  „  Le  Rot  Bolt. 

„  „  The  Alchemist. 

„  „  A  Surgical  Operation. 

„  „  The  Temptation  of  S.  Anthony. 

„  „  Picture  Gallery  of  the  Archduke 

Leopold  William. 
„  „  The  Story  of  Armida,  in  twelve 

pictures. 

And  many  others. 
Munich.       Pinakothek.    Scene  in  a  Tavern. 
„  „  The  same  subject. 

„  „  The   Alchemist  ^a  portrait  of 

himself). 
„  „  Four   Views   of  the  Archduka 

Leopold  William's  Gallery. 
„  „  Great  Fair  before  the  church  of 

Santa  Maria  dell'  Imprunata, 
Florence. 
„  „  A  Peasant  smoking. 

And  others. 
Paris.  Louvre.     S.  Peter's  denial. 

„  „  The  Prodigal  Son  with  Courte- 

sans. 
„  „  The  Seven  Works  of  Mercy. 

„  ,,  Temptation  of  S.  Anthony. 

„  „  Village  Festival. 

,,         An  Inn  by  a  River. 
'„  „         Peasants  dancing  before  an  Inn. 

„  „         Alehouse  Interior. 

„  „         The  same  subject. 

„  „         Heron-hawking. 

„  „         The  Smoker. 

„  „  The  Knife-grinder. 

„  „         The  Piper. 

„  „  Portrait  of  an  Old  Man. 

„  ,,  The  Soap-bubbles. 

Aiui  twenty-one  in  the  La  Caze  Collection. 
Petersburg.      Hermitage.    Corporation  of  Crossbowmen  of 
S.  Sebastian. 
rt  „  A  Guard-room. 

„  „  A  Village  Festival. 

yf  „  Wedding  Feast. 

„  „  The '  Angel '  Inn. 

n  „  Kermesse. 

160 


Petersburg.    Hermitage.    Card  Players. 

And  very  many  others. 
Vienna.  Gallery.    The  Archduke  Leopold  William 

bringing  down  the  Bird. 

„  „  The   Archduke    Leopold   Wil- 

liam's Picture  Gallery. 

„  „  The  Old  Man  with  the  kitchen 

Maid. 

„  .,  Village  Wedding. 

„  „  Robbers  plundering  a  Village. 

„  „  Peasants   shooting  with  Bows 

and  Arrows. 

„  „  The  Sausage-malter. 

And  others. 

TENIERS,  David  III.,  painter,  bom  at  Antwerp 
in  1638,  was  the  eldest  of  the  eleven  children  of 
David  Teniers  the  Younger.  Helena  Founnent,  the 
wife  of  Rubens,  was  his  godmother.  He  was  taken 
to  Brussels  by  his  father  when  very  young,  and 
afterwards  sent  to  Spain  to  complete  his  education. 
The  respectability  of  his  talents  is  sufBciently  shown 
by  his  having  been  his  father's  collaborator  in 
many  works,  and  also  by  the  fact  that  the  pictures 
of  the  two  are  often  confounded.  M.  Wauters,  in 
his  '  Flemish  School  of  Painting,'  points  out  that  it 
was  David  III.,  and  not  his  father,  who  signed  his 
pictures  and  cartoons  David  Teniers  junior.  A 
'S.  Dominic,'  which  still  exists  in  the  church  at 
Perck,  is  a  ease  in  point.  David  III.  died  at 
Brussels  in  1685.  His  son,  David  IV.,  was  also  a 
painter.  He  was  born  in  1672,  settled  in  Portugal, 
and  died  at  Lisbon  in  1771. 

TENIERS,  JOLIAN,  painter,  another  son  of 
Julian,  the  mercer,  has  been  often  confounded 
with  his  father.  He  was  born  in  1572,  and  was 
therefore  older  than  his  brother,  David  Teniers  the 
Elder,  who  was  bound  his  apprentice  in  1595.  Ho 
stood  godfather  to  David  the  Younger  in  1610.  Of 
his  own  works  nothing  definite  is  known.  He  died 
in  1615. 

TENNANT,  John,  an  English  painter,  born  in 
London  in  1796.  He  painted  at  first  subject 
pictures,  such  as  '  Meg  Merrilies,'  'The  Old  Smug- 
gler,' 'The  Old  Forester,'  but  afterwards  turned 
his  attention  to  landscape.  In  1842  he  became  a 
member  of  the  Society  of  British  Artists.  He 
exhibited  occasionally  at  the  Academy  between 
1820  and  1847.     He  died  in  1872. 

TENNER,  Eduard,  German  painter ;  born  in 
1830  ;  professor  of  painting  at  the  Academy  of 
Carlsruhe,  where  he  was  well  known,  and  where 
he  died,  April  15,  1901. 

TEOSCOPOLL     See  Theotocopuli. 

TEPA,  Franz,  Polish  painter ;  born  September 
21,  1832,  at  Lemberg,  where  he  became  a  pupil  of 
Maszkowski's  ;  in  1848  he  studied  at  Vienna  with 
Waldraiiller,  and  at  Munich  with  Kaulbach.  After 
lengthy  travel  in  the  East  he  worked  with  Ary 
Scheffer  and  Cogniet  in  Paris,  and  settled  at 
Lemberg  in  1868,  where  as  a  painter  of  genre  and 
portraits  he  gained  notoriety.  He  died  there  in 
December  1889. 

TEPPER,  Ernst,  German  painter;  born  Feb- 
ruary 27,  1843,  at  Berlin,  where  he  studied  and 
permanently  settled ;  painted  portraits,  and  invented 
certain  fire-proof  pigments.  He  died  at  Berlin, 
May  1,  1890. 

TERASSON,  H.,  engraver,  practised  in  London 
early  in  the  18th  century.  He  engraved  some 
entomological  plates,  and,  in  1713,  a  'View  of  the 
Banqueting-Hou8e,Whitehall,'from  his  own  design. 

TER  BORCH,  Gerard,  was  born  at  Zwolle  in 
1617,  and  studied  art  under  his  father,  a  painter, 
who  had  visited  Italy ;  he  was  afterwards  sent  to 


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PAINTERS  AND  ENGRAVERS. 


Haarlem,  where  he  studied  under  Pieter  Molijn 
from  1632-35.  In  1635  he  went  to  England,  then 
to  Italy.  About  1641  he  returned  to  Amsterdam, 
where  he  was  very  successful  in  the  painting  of 
portraits  on  a  small  scale.  In  1646-48  he  was  at 
Miinster,  where  the  plenipotentiaries  of  Spain  and 
the  delegates  of  the  Dutch  provinces  were  met  to 
ratify  the  treaty  of  peace  with  Pliilip  IV.  His 
picture  of  that  event,  with  the  portraits  of  the 
assembled  delegates,  is  considered  his  masterpiece, 
and  is  now  in  the  National  Gallery.  He  was  fond 
of  painting  pictures  with  some  slight  dramatic 
connection.  After  leaving  Miinster,  Ter  Borch 
visited  the  court  of  Spain,  and  was  received  with 
honour  by  Philip  IV.,  who  knighted  him.  From 
tliere  he  visited  France  and  returned  to  Holland, 
where  he  lived  from  1650-54  at  ZwoUe,  and  then 
finally  he  settled  at  Deventer,  where  he  married 
his  cousin,  and  became  a  member  of  the  town 
council,  and  afterwards  Burgomaster.  His  por- 
trait in  the  Hague  Museum,  painted  by  himself 
about  the  year  1660,  represents  him  wearing  a 
majestic  wig,  the  curls  of  which  shade  a  long  and 
somewhat  melancholy  face ;  the  nose  well  shaped 
and  long  ;  the  mouth  firm  and  shaded  with  a  grey- 
ish moustache.  His  life  appears  to  have  been  free 
from  incident.  He  died  at  Deventer,  December  8, 
1681,  leaving  no  children.  Among  his  pupils  we 
may  name  Caspar  Netscher  and  Hendrick  ten  Oevcr. 
His  pictures  are  comparatively  few  in  number. 
The  following  are  the  more  accessible  :  "W.  Ji, 
Amsterdam.  Museum.    His  own  Portrait. 

„  „  Portrait  of  Geertjen  Mat- 

thijssen,  his  Wife. 
„  „  Paternal  Couusel. 

Antwerp.  3Iuseum.     The  Mandolin  Player. 

Berlin.  JIuseuvi.     Fatherly  Advice. 

„  „  Portraits  of  bis  Wife  and 

his  Wife's  Father. 
„  „  The  Physician's  Visit. 

„  „  Two  Male  Portraits. 

„  „  The  Smoker. 

„  „  The  Grinder's  Family. 

Dresden.  Gallery.     The  Officer  and  the  Trum- 

peter. 
„  „  Young  Lady  washing  her 

hands. 
„  „  Young  Lady  playing  the 

lute. 
„  „  Young  Lady  in  white  satin 

with  li^  back  turned. 
Haarlem.  Museum.     Portraits  of  M.  and  Mme. 

Colenbergh. 
Hague.  Museum.     The  Message. 

„  ,,  His  own  Portrait. 

„  „  Portrait    of    Gaspar    von 

Kiuschot. 
London,  Nat.  Gull.     The  Music  Lesson. 

„  ,,  The  Peace  of  Miinster. 

„  „  Portrait  of  aManstanding. 

Munich.  Gallery.     The   Trumpeter  and   the 

Letter. 
„  ,,  Boy  and  Dog. 

Paris.  Louvre.     Soldier  offering  Money  to 

a  young  Woman. 
„  „        The  Music  Lesson. 

„  „        Tlie  Concert. 

„  „        Meeting  of  Ecclesiastics. 

„  „        Learning  to  read  {La  Caze 

Col.). 
Petersburg.  Hermitaye,     Cavalier  and  Lady. 

„  „  The  Jew  Musician. 

„  „  The  Letter. 

„  „  The  Rustic  Messenger. 

„  „  The  Duet. 

„  „  Interior  of  an  Inn,  with 

an  Officer  and  a  'V'oung 
Woman. 
Vienna.  Gallery.    The  Apple-peeler, 

VOL.  V.  M 


TERBRUGGEN,  Hendrik,  born  at  Deventer  in 
1588,  was  brought  up  in  the  school  of  Abraham 
Bloemart,  at  Utrecht.  He  resided  ten  years  at 
Rome  and  Naples,  where  he  painted  manj'  pictures 
for  the  churches  and  for  private  collections.  When 
Rubens  made  bis  tour  through  Holland,  he  pro- 
nounced Terbruggen  to  be  one  of  the  ablest  painters 
of  his  country.  Of  his  works  we  may  name :  at 
Deventer, '  The  Four  Evangelists ' ;  in  the  Copen- 
hagen Gallery,  'Christ  Crowned  with  Thorns'; 
in  the  Wallraf  Museum  at  Cologne,  '  Esther  and 
Vashti'  ;  and  in  the  Cassel  Gallery  two  pictures. 
He  died  at  Utrecht  in  1629.  W.  31. 

TERENZI  DA  URBINO,  Terenzio,  called  also  il 
RoNDOLiNO,  w.as  a  native  of  Urbino,  and  flourished 
about  the  year  1600.  He  was  a  scholar  of  Barooci, 
and,  according  to  Baglione,  visited  Rome,  where  he 
was  favoured  with  the  protection  of  Cardinal  Mont- 
alto.  He  is  said  to  have  possessed  an  extra- 
ordinary talent  for  imitating  the  works  of  the 
great  masters,  and  to  have  thus  deceived  some  of 
the  best  judges.  Having  practised  one  of  these 
deceptions  on  his  benefactor,  imposing  on  him 
a  picture  painted  by  himself  for  a  work  of  Raphael, 
he  was  disgraced.  There  is  a  picture  of  his  own 
composition  in  the  church  of  S.  Silvestro,  at  Rome, 
representing  the  Virgin  and  Infant  Christ,  with 
several  Saints.     He  died  in  1620. 

TERHIMPEL,  Anthonis,  a  painter  of  landscapes 
and  kermesses,  flourished  at  Delft  about  1650.  He 
p.ainted  much  on  porcelain,  and  many  drawings 
by  him  are  still  extant. 

TERLEE,  —  Van,  born  at  Dort  in  1636,  is  said  to 
have  been  a  scholar  of  Rembrandt,  and  to  have 
painted  a  few  historical  pictures  of  slight  merit. 

TERMISANO,  Decio,  a  Neapolitan,  and  pupil 
of  Giovanni  Filippo  Crisouolo,  and  of  Pittone  and 
Marco  da  Siena,  was  born  in  1565.  Dominici,  in 
his  '  Lives  of  the  Neapolitan  Painters,'  mentions 
a  picture  by  this  master  in  the  church  of  S.  Maria 
detta  a  Chiazza,  at  Naples,  representing  the  '  Last 
Supper  ; '  it  is  signed  and  dated  Ib^l.  He  died 
in  1600. 

TERNITE,  WlLHELM,  painter,  was  born  at  Neu- 
Strelitz  in  1786.  He  served  in  the  army  during 
the  War  of  Deliverance,  and  later  studied  in  Paris 
under  Gros.  He  afterwards  went  to  Rome  and 
Naples,  and  made  drawings  from  the  Pompeian 
frescoes,  which  he  published  as  lithographs.  On 
his  return  to  Germany,  he  devoted  himself  to 
portrait  painting.  Among  his  portraits  are  :  '  The 
Emperor  Francis  II.  of  Austria,'  '  Queen  Louisa 
of  Prussia,'  and  '  The  Grand  Duke  of  Meoklenburg- 
Strelitz.'     Ternite  died  in  1871. 

TEROL,  Jatme,  a  Spanish  painter,  and  pupil  of 
Fray  Nicolas,  who  from  1604  to  1607  assisted 
Rodriguez  Espinosa  on  the  high  altar  of  the  churcli 
of  St.  Jolin  Bapti.st  at  Muro,  Valencia. 

TERRAZZI,  LuiGl,  Italian  painter ;  bom  in 
1850  ;  well  known  by  his  spirited  scenes  of  Vene- 
tian popular  life ;  was  for  a  long  while  resident 
near  Vienna,  but  subsequently  returned  to  Venice, 
where  he  died  in  1897, 

TERRY,  Garnet,  an  engraver  working  towards 
the  end  of  the  18tli  century,  published  '  A  New  and 
Compleat  Book  of  Cyphers  '  (with  600  examples) 
in  1786  ;  '  A  Book  of  new  and  allegorical  Devices 
.  .  .  particularly  for  Jewellers,  Enamel  Painters, 
Pattern  Drawers,  etc.,  containing  200  Subjects,* 
in  1795  ;  and  '  A  Complete  Round  of  Cyphers  .  .  . 
consisting  of  600  Examples,'  in  1796. 

TERRY,  H—  J—,  was  born  in  England,  but 

161 


A   BIOGRAPHICAL   DICTIONARY   OF 


studied  under  Calame,  in  Geneva,  and  was  for 
several  years  engaged  in  reproducing  his  master's 
works  by  lithograpliy.  He  subsequently  turned 
Ilia  attention  to  landscape  painting  in  water-colour, 
in  which  he  was  successful.  He  practised  at  Basle, 
Miilhausen,  and  Lausanne,  exhibiting  his  works 
in  Switzerland.     He  died  at  Lausanne  in  1880. 

TERSAN.    See  Campion,  Charles  Philippe. 

TERWESTEN,  Adgdstyn,  painter,  was  born  at 
the  Hague  in  1649.  Without  the  help  of  an  in- 
structor, he  made  sufficient  progress  in  art  to 
be  employed  by  the  goldsmiths  as  a  chaser,  which 
profession  he  followed  until  he  was  twenty,  when 
he  turned  to  painting.  He  then  became  the 
pupil  of  an  artist  named  Wieling,  who  had  some 
reputation  as  an  historical  painter.  Under  him 
he  studied  two  years.  He  afterwards  placed  him- 
self under  Willem  Doudyns,  and  in  a  short  time 
found  himself  in  a  position  to  undertake  a  journey 
to  Italy.  He  travelled  through  Germany  to  Rome, 
where  he  met  with  suflicient  employment  to  keep 
him  for  four  years.  He  afterwards  visited  Florence 
and  Venice,  and  in  1678  returned  to  Holland.  He 
was  chiefly  employed  in  painting  ceilings  at  the 
Hague,  Amsterdam,  and  Dort,  with  subjects  from 
Ovid.  He  was  a  principal  agent  in  the  re-estab- 
lishment of  the  Hague  Academy,  which  had  for 
years  been  in  a  state  of  decay.  In  1690  he  was 
invited  to  the  court  of  the  Elector  of  Brandenburg, 
afterwards  King  of  Prussia,  who  appointed  him  his 
principal  painter,  and  made  him  director  of  the 
Berlin  Academy.  He  died  at  Berlin  in  1711.  He 
etched  a  few  plates. 

TERWESTEN,  Elias,  younger  brother^  of  Au- 
gustyn  Terwesten,  was  born  at  the  Hague  in  1651, 
became  the  disciple  of  his  brother,  and  for  some 
time  applied  himself  to  figure  subjects ;  but  not 
succeeding  to  his  expectation,  he  turned  to  animals, 
flowers,  fruit,  and  still  life,  in  which  he  was  more 
successful.  Following  the  example  of  his  brother, 
he  travelled  to  Italy,  and  settled  at  Rome,  where 
his  works  were  held  in  considerable  estimation. 
He  was  employed  by  the  Elector  of  Brandenburg 
to  collect  works  of  art.  By  artists  he  was  called 
"The  Bird  of  Paradise."  He  died  at  Rome  in  1729. 

TERWESTEN,  MATTHEUS,the  youngest  brother 
of  Augustyn  Terwesten,  born  at  the  Hague  in 
1670,  was  for  some  time  instructed  by  his  brother, 
but  aftsnvards  studied  successively  under  Daniel 
Mytens  II.  and  Willem  Doudyns.  On  the  de- 
parture of  Augustyn  Terwesten  for  the  court  of 
Berlin,  he  completed  some  of  the  pictures  left 
unfinished  by  the  latter.  In  1694  he  went  to  Italy, 
and  worked  three  years  in  Rome.  He  also  visited 
Berlin.  Soon  after  his  return  to  Holland  he  was 
received  into  the  Hague  Academy,  and,  early  in 
the  18th  century,  appointed  its  director.  One  of 
his  best  works  is  a  '  Christ  on  the  Mount  of  Olives,' 
in  the  church  of  the  Jansenists,  at  the  Hague. 
In  the  Museum  at  Amsterdam  there  is  a  portrait 
by  him  of  the  Princess  Anna,  consort  of  William 
IV.  of  Orange.  He  died  at  the  Hague,  June  11th, 
1757.  His  two  sons,  Adgdsttn  the  younger,  and 
PiETER,  were  also  painters.  AnonsTYN,  born  at  the 
Hague  in  1711,  was  a  member  of  the  'Pictura' 
Society.  He  practised  at  Delft  and  in  his  native 
town,  and  died  in  1781.  Pietee  combined  literature 
with  his  work  as  a  painter.  Born  at  the  Hague  in 
1714,  he  became  secretary  of  the  'Pictura'  Society 
m  1762.  He  wrote  sequels  to  Hoet's  catalogues 
and  various  notices  of  Dutch  artists.  He  died  in 
1798. 
162 


TERZI,  Cristoforo,  a  native  of  Bologna,  was 
born  in  1692.  He  was  a  scholar  of  Guiseppe 
Maria  Crespi,  and  acquired  considerable  reputation 
as  a  painter  of  history.  There  are  several  of 
his  works  at  Bologna,  among  which  the  most 
worthy  of  notice  is  his  '  S.  Petronio  kneeling 
before  the  Virgin,'  in  the  church  of  S.  Giacomo 
Maggiore.  He  died  at  Bologna  in  the  prime  of 
life  in  1743. 

TERZI,  Francesco,  bom  at  Bergamo  about  the 
year  1525,  was  a  disciple  of  Giovanni  Battista 
Moroni.  According  to  Tassi,  he  painted  history 
with  some  success,  and  distinguished  himself, 
while  still  young,  by  two  pictures  for  S.  Francesco, 
at  Bergamo,  a  '  Nativity  of  Christ,'  and  an  'Assump- 
tion of  the  Virgin.'  He  was  invited  to  the  court 
of  the  Emperor  Maximilian  II.,  who  appointed  him 
his  painter.  Terzi  passed  the  greater  part  of  his  life 
in  Germany,  but  died  at  Rome,  at  an  advanced  age, 
in  1 600.  A  series  of  portraits  by  him  of  the  Austrian 
arcli-ducal  family  was  afterwards  engraved. 

TESAURO,  Bernardo,  born  at  Naples  in  1440, 
was  of  the  same  family  with  Filippo  Tesauro.  He 
was  a  disciple  of  Silvestro  del  Buoni,  and  an  artist 
in  great  fame  in  his  time.  His  chief  picture  was 
an  '  Assumption  of  the  Virgin,'  in  the  church  of  S. 
Giovanni  Maggiore.  Frescoes  by  him  still  exist 
in  the  chapel  of  S.  Aspreno,  in  the  Duomo  of 
Naples ;  and  in  the  Chiesa  dei  Pappacodi.  He 
died  at  Naples  about  1500. 

TESAURO,  Filippo,  or  Pipfo,  a  Neapolitan 
painter,  born  about  1260,  to  whom  is  assigned  a 
picture  in  the  Museum  at  Naples,  the  Virgin  with 
the  Infant  Saviour  holding  a  basket  of  cherries, 
in  the  midst  of  Saints,  with  a  lunette  above,  repre- 
senting the  Martyrdom  of  S.  Lawrence.  He  also 
painted  some  frescoes  in  the  church  of  S.  Restituta, 
at  Naples.     He  died  about  1320. 

TESAURO,  Raimo  Epifanio,  born  at  Naples 
about  1480,  was  the  son  (or  nephew)  and  disciple  of 
Bernardo  Tesauro.  He  painted  several  considerable 
works  in  fresco  in  the  public  buildings  of  Naples. 
He  died  at  Naples  in  1511. 

TESCHENDORF,  Emil,  German  painter ;  born 
at  Stettin,  May  13,  18:33;  studied  first  at  the 
Berlin  Academy,  and  then  with  Piloty  at  Munich. 
His  early  theological  training  led  him  to  choose 
subjects  connected  with  Luther's  life ;  he  also 
painted  portraits  and  genre  pictures.  He  was 
employed  in  the  secretary's  dep^irtment  of  the 
Berlin  Academy,  being  appointed  professor  in 
1888.     He  died  at  Berlin,  June  4,  1894. 

TESCHNER,  Alexander,  painter,  born  at  Berlin 
in  1816,  began  his  studies  at  the  Berlin  Academy 
in  the  ateher  of  Professor  Herbig,  and  studied  later 
under  Wach.  On  the  death  of  the  latter  he  turned 
his  attention  from  historical  to  religious  art,  by 
which  he  soon  acquired  a  reputation.  Among 
other  works  he  designed  cartoons  for  the  choir 
windows  in  Magdeburg  Cathedral,  and  a  '  Magda- 
len and  Christ,'  for  the  church  of  the  Magdalen  at 
Breslau.  He  visited  Rome  in  1857.  His  inter- 
course with  Cornelius  had  an  influence  upon  his 
art  which  is  perceptible  in  his  cartoons  for  windows 
in  the  cathedrals  of  Stralsund  and  Aix-la-Chapelle. 
Other  works  by  hira  are  :  '  Ecce  Homo,'  in  the 
church  of  Perleberg  ;  '  Christ  and  the  Four  Evange- 
lists'  in  the  church  of  Teplitz ;  'Angels 'in  the 
church  at  Baden-Baden.  He  died  at  Berlin  in 
1878. 

TESI,  Madro  Antonio,  painter  and  engraver, 
born  at  Montebianco  in  Modena  in  1730.  first  worked 


GERARD  TER  BORCH 


Hanjsdngl  photo] 


PORTRAIT  OK  A  HKNTLEMAN 


{^National  Gallery 


GERARD  TER  BORCH 


Hanfsta  vgl  pho(o\ 


[I'crlh!  Gallery 


FATHERLY  ADVICE 


PAINl'ERS  AND  ENGRAVERS. 


with  the  heraldic  painter  Morrettini.  By  Btudy 
of  the  great  masters,  and  by  copying  the  designs 
of  men  like  Metelli,  Colonna,  and  others,  he  raised 
himself  to  a  higher  place  in  art.  His  pictures 
were  chiefly  interiors,  with  much  elaborate  decora- 
tion. Some  of  them  were  painted  after  the  notions 
of  Count  Algarotti,  Tesi's  patron,  and  among  his 
engravings  was  a  portrait  of  his  patroness,  the 
Countess  Algarotti.  He  also  left  many  plates  of 
vases,  foliage,  arabesques,  etc.     He  died  in  1766. 

TESTA,  Giovanni  Cesare,  the  nephew  of  Pietro 
Testa,  born  at  Rome  about  the  year  1630,  is  sup- 
posed to  have  been  taught  by  his  uncle,  after 
whose  designs  he  etched.  He  died  in  1655.  We 
have,  among  others,  the  following  plates  by  him : 

Portrait  of  Pietro  Testa ;  J  Cesar  Testa,  sc. 

The  Death  of  Dido ;  after  P.  Testa. 

The  Centaur   Cliiron  teaching  Achilles  to  throw  the 

Javelin  ;  after  the  same. 
Tlie  Emperor  Titus  consulting  Basilides  respecting  his 

expedition  against  Jerusalem ;  after  the  same. 
The  Communion  of  St.  Jerome ;  after  Domenichino. 

TEST.V,  Pietro,  called  II  Lucchesino,  bom  at 
Lucca  in  1617,  was  a  pupil  of  Pietro  Paolini.  He 
afterwards  studied  in  Rome,  first  under  Domeni- 
chino, and  afterwards  under  Pietro  da  Cortoaa  ;  but 
having  spoken  disrespectfully  of  the  latter,  he  was 
dismissed  from  his  school.  He  worked  hard  from 
the  classical  remains  in  Rome,  but  is  said  to  have 
been  of  a  morose  disposition,  making  many  enemies 
by  his  tongue.  Testa  was  drowned  in  the  Tiber  in 
1650.  Of  his  works  at  Rome  the  best  are,  a  '  Death 
of  S.  Angelo,'  in  the  church  of  S.  Martino  a  Monti ; 
and  the  '  Sacrifice  of  Iphigenia,'  in  the  Palazzo  Spada. 
Many  of  his  pictures  are  at  Lucca.  As  an  engraver, 
Pietro  Testa  is  of  some  importance.  Mariette  had 
ninety-two  etchings  by  him.  He  sometimes  marked 
his  plates,  which  are  from  his  own  designs,  with  the 

cipher     ^  •     The  following  are  perhaps  the  best : 

Abraham  sacrificing  Isaac;  P.  Testa, fee. 

The  Holy  Family,  with  Angels. 

A  '  Madonna,'  the  Child  embracing  the  Cross. 

The  Adoration  of  the  Magi. 

The  Crucifixion. 

Four  scenes  from  the  Parable  of  the  Prodigal  Sou ;  P. 

Testa,  fe.  Romip. 
The  Martyrdom  of  St.  Erasmus. 
St.  Jerome  praying. 
St.  Eooh  and  two  Bishops  pnaying  for  the  cessation  of 

the  Plague. 
Thetis  directing  the  infant  Achilles  to  be  plimged  into 

the  river  Styx;  P.  Testa, fecit. 
Achilles  dragging  the  Body  of  Hector  round  the  walls 

of  Troy  ;  P.  Testa,  aq.for. 
Socrates  at  Table  with  Ids  Friends  ;  P.  Testa.     1648. 
The  Death  of  Cato. 
The  Sacrifice  of  Iphigenia, 

Four  phites  of  the  Seasons,  with  the  Signs  of  the  Zodiac. 
The  Triumph  of  Bacchus. 
Faith,  Hope,  and  C'harity. 
Magdalen  in  tbe  Desert. 
A  young  Woman  in  a  Swoon,  surrounded  by  Cupids. 

TEST  ANA,  GiosEFFo,  a  relation  of  Glov.anni  Bat- 
tista  Testana,  was  born  at  Genoa  about  the  year 
1650.  He  was  established  at  Rome  in  1680,  and 
engraved  some  of  the  plates  for  a  work  entitled 
'Effigies  of  the  Cardinals  now  living,'  published 
in  that  year.  We  have  also,  among  others,  the 
following  prints  by  him  : 

St.  Margaret ;  after  P.  da  Cortona. 

An  allegory  of  Religion  holding  the  Portrait  of  Pope 

Alexander  VII. ;  after  the  same. 
TESTANA,  Giovanni  B-iiTTiSTA,  an  Italian  en- 

M  2 


graver,  born  at  Genoa  about  the  year  1645,  resided 
chiefly  at  Rome,  where,  in  conjunction  with  Guil- 
haume  Vallet  and  Etienne  Picart,  he  engraved 
some  plates  from  medals  and  antique  gems,  for  the 
work  of  Canini.  There  are  also  a  few  independent 
pl.ates  by  him,  among  them  the  following : 

The  Guardian  Angel ;  after  Fietro  da  Cortona. 

The  Baptism  of  Constantine  ;  after  Agost.  Carracci. 

He  was  living  in  1700. 

TESTELIN,  Henri,  (Tettelin,)  the  brother  of 
Louis  Testelin,  was  born  in  Paris  about  1616.  A 
scholar  of  Simon  Vouet,  he  was  at  once  portrait 
painter,  engraver,  and  writer  en  art.  He  wrote  a 
work  entitled  '  Sentimens  des  plus  habiles  peintres 
sur  la  pratique  de  la  peinture  et  de  la  sculpture, 
mis  en  tables  de  pr^ceptes,  avec  plusieurs  discours 
acad^miques,  ou  Conferences  tenues  en  I'Acad^niie 
Royale  desdits  Arts,'  &c.,  and  filled  it  with  illustra- 
tions engraved,  and  in  some  cases  designed,  by 
himself.  Henri  Testelin  held  the  office  of  secretary 
to  the  Academy  of  Paris,  of  which  he  was  a  found- 
ation member,  and  at  the  death  of  his  brother,  suc- 
ceeded him  as  professor  of  painting.  In  1681, 
however,  he  was  excluded  as  a  Protestant.  He  died 
at  the  Hague  in  1695.  At  Versailles  there  are  two 
portraits  of  Louis  XIV.  and  one  of  Siguier  by  him. 

TESTELIN,  Louis,  (Tettelin,)  a  French  painter 
and  engraver,  bnrn  in  Paris  in  1615,  was  a  pupil  of 
Simon  Vouet.  He  painted  history  with  success,  and 
was  a  foundation  member  of  the  Paris  Academy  in 
1648.  His  principal  pictures  are  the  '  Resurrection 
of  Tabitha,'  and  the  '  Scourging  of  Paul,'  in  the 
church  of  Notre  Dame,  Paris.  Pictures  by  him  are 
to  be  seen  also  in  the  museums  of  Rennes,  Rouen,^ 
Grenoble,  and  Versailles.  He  etched  a  plate  of 
'  The  Holy  Family,'  after  his  own  design.  He  died 
in  1655. 

TETAR  VAN  ELVEN,  Jan  B.,  painter  and  en- 
graver, was  born  at  Amsterdam  in  1805.  He  studied 
at  Antwerp  under  Meulemeester,  and  in  Brussels 
under  Francois.  His  portrait  plate  of  the  Prince  of 
Orange,  published  in  1833,  was  the  first  engraving 
on  steel  executed  in  the  Netherlands.  In  1834,  he 
became  Director  of  an  Art  School  at  Amsterdam,  and 
Member  of  the  Academy  in  1836.  He  was  further 
known  as  a  painter  of  portraits  and  genre  pictures 
and  as  an  illustr.itor  of  Books. 

TETZNER,  Edmund,  German  painter ;  born  at 
Langensalza,  November  28,  1845 ;  studied  at 
Weimar  under  Baur,  and  worked  in  Italy  ;  painted 
genre  pictures,  such  as  'Morgenstiinmung,'  'Pro- 
fane Storung,'  'Wehrlos,'  and  'Die  Kapello  m 
Nothen,'  which  last  is  considered  his  best  work. 
He  died  at  Weimar,  May  21,  1881. 

TEUCHER,  JoHANN  Christoph,  a  German  en- 
graver, who  practised  in  Paris  about  the  year  1750, 
where  he  engraved  the  'Virgin  of  the  Rose,'  after 
Parmigiano,  for  the  publication  known  as  the 
'  Dresden  Gallery.' 

TEUFEL.     See  THiJ?EL. 

TEUFEL'SMULLER.    SeeMuLLEB,  Feiedrich. 

TEUNISSEN.    See  Anthoniszoon,  Cobnelis. 

TEXIEI!,  Andr^  Louis  Victor,  was  born  in 
1777  at  La  Rochelle.  He  was  a  pupil  of  Fr.  Pira- 
nesi  and  of  Pierre  Laurent.  He  engraved  views  of 
the  Alhambra,  of  chemists'  laboratories,  and  other 
such  interiors.  Some  of  the  plates  for  the  'Mus^e 
Franjfiis,'  and  for  De  Clarac's  'Mus^e  de  Sculpture 
antique  et  moderne,'  are  by  him.  He  died  in  Paris 
in  1864,  from  the  eflfects  of  a  carriage  accident. 

TEXIER,  G ,  a  native  of  Paris,  and  pupil  of 

Ph.  Le  Bas,  who  flourished  about  the  year  1780. 

163 


A  BIOGRAPHICAL  DICTIONARY  OF 


He  engraved  several  landscapes  and  genre  pictures 
of  the  Watteaii  school  in  a  neat,  clear  style.  He 
was  6till  living  in  1824. 

TEYLINGEN,  John  van,  of  Embden,  admitted 
into  tlie  Guild  of  St.  Lulie  at  Dordrecht  in  162-1 ; 
married  October  22,  1625,  a  widow,  Adrianna 
Havermans. 

Brussels.      M,  Cavens.     Portrait  of  a  Man. 
Leiden.      3C  Gerritsen,     Portraitof  aLadyagedlS.  1638. 

W.  H.  J.  W. 

THACKER,  Robert.  By  this  English  engraver, 
who  signs  himself  designer  to  the  !<ing,  we  have  a 
large  print,  in  four  plates,  representing  Salisbury 
cathedral.     He  flourished  about  1670. 

THACKERAY,  William  MAKErEACE,_  claims 
mention  in  a  work  like  this  by  his  artistic  as- 
pirations rather  than  by  his  art.  Born  at  Calcutta 
in  1811,  he  was  educated  at  the  Charterhouse  and 
at  Cambridge.  For  some  time  he  wavered  between 
literature  and  art,  but  he  soon  found  his  true 
vocation.  Amongst  the  works  he  illustrated  him- 
self are  'Comic  Tales  and  Sketches,' 'The  Irisli 
Sketch  Book,'  'The  Paris  Sketch  Book,'  'Memoirs 
of  Mr.  Charles  Yellowplush,'  'Tlie  Book  of  Snobs,' 
'  Catherine,  Little  Travels,  and  the  Fitzboodle 
Papers,'  '  Christmas  Books,'  '  Vanity  Fair,'  '  Pen- 
deimis,'  'Denis  Duval '  (jointly  with  F.  Walker),  and 
'Burlesques'  (jointly  with  R.  Doyle).  He  died  at 
Kensington,  December  24,  1863.  There  is  a  col- 
lection of  his  original  drawings  in  the  Forster  Col- 
lection at  South  Kensington.  A  selection  of  nearly 
600  of  liis  sketches  was  published  in  1875. 

THAN,  M6r,  Hungarian  painter  ;  born  June  19, 
1828,  at  Alt-Becse,  Hungary  ;  studied  at  the 
Vienna  Academy  and  also  with  Carl  Rahl  and 
Fiihrich  ;  he  also  worked  in  Paris,  and  travelled  in 
Italy,  Belgium,  and  Germany  ;  became  Director  of 
the  Hungarian  Gallery  at  Buda-Pesth.  His  work 
mainly  deals  with  episodes  in  Hungarian  history, 
thougli  he  found  in  'Hylas'  and  'Leda'  subjects 
from  tlie  classical  mythology  that  appealed  to 
him,  and  painted  a  portrait  of  the  Emperor  Francis 
Joseph  that  is  now  in  the  Buda-Pesth  Town  Hall. 
He  died  at  Trieste  in  March  1899. 

THATER,  Jdlids  C.esar,  engraver,  born  at 
Dresden  in  1804.  He  had  in  his  youth  to  struggle 
with  poverty,  and  for  a  time  made  a  scanty  living 
by  any  hunil>le  employment  that  came  to  hand.  In 
1818,  however,  he  was  enabled  to  enter  the  Dres- 
den Academy,  and  from  1826  to  1828  he  worked 
in  Nuremberg  ;  he  was  for  a  time  at  Berlin,  and 
also  studied  in  Munich  under  Amsler,  but  in  1834 
he  settled  in  Munich,  where  he  engraved  seven 
plates  for  Count  Raczynski's  '  History  of  Art.'  In 
1842  he  went  to  W'eimar  as  a  teacher  in  the  Art 
School,  and  in  1843  returned  to  his  native  town, 
where,  in  1846,  he  was  appointed  teacher  at  the 
Academy  ;  three  years  later  he  became  professor  of 
engraving  at  Munich.  Thater  died  in  Munich  in 
1870.     His  principal  plates  are  the  following: 

Barbarossa  in  Milan  ;  after  Schnorr. 
Barbarossa  in  A'"enice  ;  after  the  same. 
Designs  for  Faust ;  after  l^chwind. 
Bitter  Curt's  Brautfahrt ;  after  the  same. 
St.  Elizabeth's  Works  of  Mercy ;  after  the  same. 
Cinderella ;  aftti-  the  same. 
Barbarossa  in  ISIilan  ;  after  M'ucke. 
The  Battle  of  tlie  Giants  ;  after  Kaulhack. 
Ohrimhild  and  Siegfried's  Corpse  ;  after  Schnorr. 
The  Fates  ;  after  Carstens. 
Charon  ;  after  the  same. 
The  Battle  of  the  Saxons  ;  after  Kiiulbach. 
Kudolph  of  Hapsburg  ;  after  Schmrr. 
164 


Designs  for  the  Campo  Santo  in  Berlin ;  mfter  Cojmeliui, 
The  Four  Riders  of  the  Apocalypse;  after  the  same. 
The  Golden  ABC;  after  Koiiig. 
The  Psalms  ;  after  the  same. 

THEED,  William,  a  student  of  tlie  Royal 
Academy,  born  in  1764.  He  began  his  artistic 
work  as  a  portrait  painter,  and  then  exhibited 
classical  subjects,  sending  in  to  the  Royal  Academy 
for  the  first  time  in  1780.  He  was  a  great  friend 
of  Flasman,  and  it  was  probably  at  his  advice  that 
Theed  took  to  sculpture.  Before  he  did  so,  how- 
ever, he  made  many  drawings  for  Wedgwood  the 
potter,  and  then  in  1803  was  employed  by  Rundell 
and  Bridge,  the  King's  jewellers,  for  whom  he 
prepared  the  drawings  that  the  engravers  might 
work  on  their  plate.  About  1805  he  com- 
menced his  work  in  sculpture,  and  he  died  in 
1817. 

THEER,  Robert,  miniature  painter  and  litho- 
grapher, was  born  at  Johannesberg,  in  Silesia,  in 
1808.  Among  his  best  miniatures  were  those  of 
the  engraver  Desnoyers,  and  of  H.  Ratakowski. 
He  died  at  Vienna  in  1863. 

THELOTT,  Ernst,  portrait  painter.born  in  1802, 
was  son  and  pupil  of  Ernst  Karl  Gottlieb  Thelott. 
He  studied  at  the  Academies  of  Diisseldorf  and 
Munich,  and  afterwards  painted  portraits.  He  died 
at  Augsburg  in  1833. 

THELOTT,  Erkst  Karl  Gottlieb,  engraver, 
bom  at  Augsburg  in  1760,  studied  at  Augsburg 
and  Munich,  and  then  settled  at  Diisseldorf,  where 
he  was  named  professor,and  engraved  several  plates 
for  the  '  Diisseldorf  Gallery.'  He  worked  chiefly 
for  almanacs.     His  best  independent  plates  are  : 

The  Sleeping  Girl ;  after  Amorosi. 
The  Sick  Lady  ;  after  Jan  Steeii. 

He  died  at  Augsburg  in  1839. 

THELOTT,  Jacob  Gottlieb,  (sometimes  called 
Johann  Gottfried,)  a  Gei-man  engraver,  was  born 
in  1714.  He  engraved  several  portraits ;  among 
others,  that  of  '  Guido  Patten,  M.D.,  Paris.'  _  He 
also  engraved  some  of  the  plates  for  a  work  entitled 
'  Representation  des  Animaux  de  la  Mdnagerie  de 
Prince  Eugene,'  published  in  1734.  He  died  in 
1773.  His  father  Johann  Andreas,  a  famous  gold- 
smith of  Augsburg,  (born  1654,  died  1734,)  is  also 
known  as  a  draughtsman  and  etcher  of  some  merit. 

THELOTT,  Karl,  engraver  and  portrait  painter, 
born  at  Diisseldorf  in  1793,  was  the  son  and  pupil 
of  his  father,  Ernst  Kari,  and  went  to  Munich  in 
1814  to  study  portrait  painting  under  Danger.  _  In 
1821  he  was  employed  in  Diisseldorf  by  Prince 
Frederick  of  Prussia,  and  was  afterwards  eng.iged 
in  painting  portraits  of  various  princely  personages 
in  Frankfort,  Beriin,  and  Westphalia.  He  died  at 
Augsburg  in  1830. 

THENOT,  Jean  Pierre,  a  French  water-colour 
painter  and  draughtsman,  was  born  in  Paris  in  1803. 
His  art  training  was  obtained  at  the  ficole  des 
Beaux  Arts,  (which  he  entered  in  1819,)  and  under 
Thibault.  He  first  exhibited  at  the  Salon  in  1827. 
Much  of  his  attention  was  devoted  to  lithography,  in 
which  medium  he  produced  many  landscapes,  hunts, 
and  animal  subjects.  He  also  delivered  courses  of 
lectures  on  anatomy  and  perspective,  and  pub- 
lished '  Essai  de  Perspective  '  (1826),  '  Cours  de 
Perspective  Pratique'  (1829),  and  'Regie  de  la 
Perspective  Pratique'  (1839).  He  died  in  Pans, 
October  11,  1857. 

THEOBALD,  Henry,  an  English  water-colour 
painter  of  little  note.     He  was  elected  an  associate 


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PAINTERS  AND   ENGRAVERS. 


of  the  Institute  of  Painters  in  Water-colours  in  1847, 
and  died  in  1849. 

THEODORE,  ,  was  a  scholar  of  Franyois 

Millet,  in  whose  style  he  painted  landscapes.  -He 
etched  twenty-eight  plates  from  the  designs  of  his 
master,  which  are  inscribed  Francisque pinxit  avec 
privilege  du  Roy;  or  Francisque  pinxit,  Simon 
exctidit  cum  jyrivilegio  Regis. 

THEODORE,  A ,  is  mentioned  by  Strutt  as 

the  designer  and  engraver  of  a  Dutch  Procession, 
etched  and  retouched  with  the  graver,  in  a  style 
resembling  that  of  Hollar.  It  is  dated  1636. 
THEODORE,  Caspar.  See  Fuekstenberg. 
THEODORICH  of  PRAGUE  flourished  be- 
tween 1348  and  1375.  His  name  stands  first  in 
the  list  of  members  of  the  Painters  Guild  at 
Prague  in  the  year  1348  ;  in  1359  he  is  mentioned 
as  the  owner  of  a  house  on  the  Hradschin  in  that 
cit}'.  He  was  Court  painter  to  the  Emperor 
Charles  IV.,  who  granted  him  many  privileges  in 
consideration  of  "  the  admirable  paintings  executed 
by  Theodorich  in  the  royal  chapel  at  Karlstein." 
This  was  the  chapel  of  the  Holy  Cross  in  the  castle 
at  Karlstein,  the  paintings  of  which  still  exist,  and 
were  completed  in  1367.  The  name  of  Theodorich 
is  first  mentioned  in  connection  with  Karlstein  in 
1357,  and  he  is  traceable  there  until  after  1375.  In 
addition  to  the  paintings  at  Karlstein  the  following 
pictures  by  Theodorich  are  known  : 

Prague.  Gallery.     Madonna  and  Child  adored  by 

Charles  IV.  and  his  son 
"Wenceslaus,  presented  by 
their  Patron  Saints.  In  the 
lower  half  of  the  picture,  the 
donor,  06ko  von  Wlaschim, 
Archbishop  of  Prague  (1364- 
1380),  with  the  Patron  Saiats 
of  Bohemia. 

Vienna.  Gallery.    Ciirist  on  the  Cross  with  the 

Madonna      and     St.     John. 
{Ascribed  to  Wtirmser.) 
„  „  Two  figures  of  Saints.     C.  J.  Ff . 

THEODOROS,  a  native  of  ancient  Athens,  was 
a  painter  of  considerable  celebrity.  Among  his 
principal  works  were  the  following :  '  Clytemnestra 
and  .^gisthus  slain  by  Orestes ; '  several  pictures 
of  events  from  the  Trojan  war,  which  were  after- 
wards taken  to  Rome,  and  a  '  Cassandra,'  preserved 
in  the  Temple  of  Concord.  Several  other  artists 
of  the  same  name,  both  painters  and  sculptors,  are 
mentioned  by  Pliny  and  by  Diogenes  Laertius. 

THEOLON,  firiENNE,  (or  Th^adlon,)  a  French 
painter  of  interiors  and  conversations,  was  born  at 
Aigues-mortes  in  1739.  He  was  a  scholar  of  Joseph 
Vien,  but  did  not  follow  his  manner.  Being  of  a 
delicate  constitution,  ho  was  a  slow  worker,  and  his 
pictures  are  not  numerous.  His  works  were  in 
great  request  during  his  life,  and  he  was  a  member 
of  the  Paris  Academy.  He  died  in  Paris,  May  10, 
1780.  In  the  Louvre  there  is  a  '  Portrait  of  an  Old 
Woman,'  by  him.  Other  examples  are  to  be  found 
at  Angers  and  Montpellier. 

THEOMNESTES,  an  ancient  Greek  painter, 
who  flourished  about  331  years  before  Christ,  and 
is  mentioned  by  Pliny  as,  in  some  respects,  the 
equal  of  Apelles. 

THEON,  a  painter  of  Samos,  who  flourished  in 
the  time  of  Philip  of  Macedon  and  Alexander  the* 
Great. 

THEOPHANES  of  CONSTANTINOPLE, 
painter,  flourished  in  the  first  half  of  the  13th 
century.  He  went  to  Italy  and  settled  at  Venice, 
where  he  is  said  to  have  formed  a  school. 


THEOPHILUS,  (Theophilus  Monachus,  or 
Theophilus  Presbyter,)  a  miniaturist,  and  a  writer 
upon  the  processes  of  painting,  flourished,  probably 
in  Lombard}',  in  the  first  half  of  the  12th  century. 
His  '  Schedula  Diversarum  Artium  '  is  of  value  as 
the  earliest  known  work  on  art  in  the  middle  ages. 
The  oldest  known  codex  is  in  the  Ducal  Library  at 
Wolfenbiittel.  Others  are  at  Leipsic,  Cambridge, 
and  Paris. 

THEOTOCOPULI,  Dominico,  surnamed  El 
Greco.  "  Dominico  Greco  died  at  Toledo  two 
years  before  his  contemporary  Cervantes."  This 
sentence  opens  the  latest  and  most  conscientiously 
exhaustive  treatise  upon  the  artist,  the  reason 
given  for  beginning  with  this  statement  being  that, 
as  the  date  of  his  death,  April  7,  1614,  is  almost 
the  only  one  we  can  fix  with  certainty,  the  date  of 
liis  birth  must  perforce  be  calculated  from  it. 

Taking  into  consideration  all  available  sources 
of  information,  such  as  the  signatures  on  his 
works,  contemporary  letters  and  archives,  it  would 
appear  that  Theotocopuli  was  born  in  Crete  be- 
tween 1545  and  1550,  though  the  entry  of  his 
baptism  cannot  be  produced,  as  his  name  does  not 
figure  in  the  parochial  books  of  the  then  numerous 
Greek  colony  at  Venice,  nor  in  the  ancient  Cretan 
archives  which  were  saved  and  removed  to  Venice, 
when  the  island  was  conquered  by  the  Turks. 
That  he  was  a  Cretan  is  now  known  from  his 
carefully  specifying  his  nationality  on  those 
canvases  which  he  evidently  considered  his  most 
important  ones,  for  instance  the  '  San  Mauricio  del 
Escorial,'  on  which  the  signature 

^o^i^viKOQQtTOKonovKoq  Kpt)^  tTTo'til 
is  to  be  found,  tlie  artist  always  using  this  latin 
form  of  the  first  name  instead  of  the  correct  Greek 
K-vpiaKog.  Justi,  in  1888,  was  the  first  to  publish  the 
signature,  and  states,  in  his  book  on  Velazquez,  that 
El  Greco  was  a  Cretan,  a  fact  also  discovered 
independently  in  1893  by  M.  D.  Bikelas ;  former 
critics  must  have  seen,  but  evidently  not  taken 
the  trouble  to  decipher  this  and  other  plain  and 
most  instructive  signatures.  Justi  also  discovered 
another  proof  of  El  Greco's  fatherland  in  a  letter 
from  the  miniaturist  Giulio  Clovio,  written  on 
November  15,  1570,  to  Cardinal  Nepote  Alessandro 
Farnese,  in  which  he  recommends  El  Greco  to  him, 
saying :  "  A  Candian  youth  has  arrived  in  Rome, 
a  pupil  of  Titian  .  .  .  amongst  other  works  he 
has  painted  a  portrait  of  himself  which  amazes 
all  the  artists  in  Rome  .  .  ."  and  Cossio  found  a 
document  containing  the  declaration  made  by  El 
Greco  in  1582,  when  he  appeared  before  the 
Tribunal  of  the  Toledo  Inquisition  as  interpreter 
for  a  compatriot  of  his  accused  of  being  a  Morisco 
— i.  e.  of  Moorish  extraction — in  which  lie  describes 
himself  as  "  Domenico  Theotocopuli,  native  of 
Candia,  painter,  resident  in  the  town.  .  .  ." 

DoraenicosTheotocopoulos  was  his  original  name, 
and  he  took  pleasure,  or  pride,  in  immortalizing  it 
as  in  the  signatures,  in  Italy  he  became  Domenico 
Theotocopuli,  a  signature  he  appended  _  to  his 
contracts  for  work  in  Spain  and  to  his  receipts,  and 
finally  the  Italian  Domunico  was  in  Spain  turned 
into  Dominico,  and,  as  can  be  seen  by  comparing 
his  first  signature  at  the  end  of  a  deed  dated  June 
15,  1579,  two  years  after  his  arrival  in  Spain,  with 
the  last  one  we  know  of,  on  May  19,  1609,  five 
years  before  his  death,  he  ultimately  adopted  the 
latter  spelling  of  his  name.  Theotocopuli  being 
too  long  a  name  for  every-day  use,  his  con- 
temporaries thought  and  wrote  of  him  as  Dominico 

165 


A   BIOGRAPHICAL  DICTIONARY  OF 


Greco,  and  he  appears  under  that  name  in  the 
works  of  Padre  Sigiienza  and  Padre  Santos,  in 
those  of  D.  Juan  Butron,  Pacheco,  Jusepe  Martinez, 
Palomino  and  Ponz,  in  the  inventories  of  the 
palace,  in  the  rolls  and  lists  of  the  public  clerks, 
and  is  even  entered  thus  in  the  record  of  his  death, 
so  that  even  this  document  would  have  afforded 
no  cine  to  his  surname  ;  therefore  Dominico  Greco 
or  El  Greco  will  probably,  as  in  the  case  of 
Tintoretto  and  Perugino,  be  the  name  by  which 
he  will  continue  to  be  known  to  posterit}'.  In 
Spain  there  has  never  been  any  confusion  between 
El  Greco  and  any  other  painter  of  the  day,  but  in 
Italy  he  has  been  confused  with  Domenico  delle 
Greche,  and  this  mistake  spread  to  Greece  and 
Germany.  Beyond  ¥A  Greco's  birthplace  and  name 
it  is  almost  impossible  to  give  any  details  ;  Cossio, 
who  has  studied  all  accessible  sources  of  informa- 
tion, saj'S  :  "We  cannot  find  the  smallest  trace  of 
his  ancestors :  there  is  no  account  of  his  sojourn 
in  his  native  country,  nor  any  clue  to  his  education 
and  work  in  Italj',  except  Clovio's  letter.  The 
date  of  his  journey  to  Spain,  and  the  motives  that 
brought  him  there,  are  also  unexplained.  It  is 
almost  certain  he  never  left  the  country  of  his 
adoption.  ...  El  Greco  had  a  son,  Jorge  Manuel 
Theotocopuli,  wlio  was  appointed  sculptor  and 
architect  to  the  Cathedral  of  Toledo  in  1628,  an 
office  he  continued  to  hold  up  to  the  time  of  his 
death  in  1631.  But  who  was  the  mother  ?  Llaguno 
is  the  only  one  who  tells  us  that  in  Toledo,  where 
he  established  himself,  he  also  married.  We  may 
well  ask  what  value  such  a  statement  could  have 
when  it  was  made  two  hundred  years  after  the 
paintei-'s  death,  we  know  not  with  what  foundation.'' 

El  Greco's  pictures,  therefore,  with  their  dates 
and  signatures,  his  lawsuits,  contracts,  and  receipts, 
are  the  only  evidence  of  his  movements,  and  relate 
more  to  his  artistic  work  than  to  his  private  hfe. 
Pacheco,  who  visited  him  in  1611, says  :  "He  was 
in  all  things  as  singular  as  in  his  painting,"  and 
Jusepe  Martinez  adds,  "  of  an  extravagant  disposi- 
tion." Again,  Pacheco  says :  "  He  was  a  great 
pliilosopher,  given  to  witty  sayings,  and  wrote  on 
painting,  sculpture  and  architecture  ; "  but  these 
works  are  not  forthcoming,  nor  are  the  documents 
concerning  the  lawsuit  in  which  he  is  said  to  have 
stood  up  to  the  taxgatherer  of  Illescas  demanding 
the  exemption  from  taxation  of  the  art  of  painting, 
and  obtained  a  favourable  decision.  The  account 
by  Jusepe  Martinez  of  how  "he  earned  many 
ducats,  but  spent  them  with  too  much  ostentation 
on  his  house,  carrying  it  even  so  far  as  to  have 
subsidized  musicians,  in  order  to  enjoy  an  additional 
luxury  during  meals  "  points  to  an  attempt  at  least 
to  transplant  Venetian  splendour  to  the  banks  of 
the  Tagus,  an  ambition  in  no  wise  betrayed  by  his 
works,  which  rather  reflect  with  growing  fidelity 
the  hard,  cold,  clear-cut  asceticism  of  the  Castillian 
plateau  and  more  particularly  the  town  of  his 
adoption  and  its  inhabitants,  a  tribute  to  the 
conscientiousness  of  the  artist,  who  chose  to  im- 
mortalize the  real  character  of  the  peo]>le  and 
surroundings  amongst  which  he  lived,  rather  than 
indulge  his  imagination  or  lapse  into  copying  the 
formulas  of  others.  To  this  he  owes  the  high 
position  he  occupies  as  the  initiator  of  truth  and 
realism  in  art,  the  percursor  and  probably  the 
inspirer  of  that  mighty  genius  Velazquez. 

That  El  Greco  studied  under  Titian  is  clearly 
established  by  Clovio's  letter,  also  the  fact  that  it 
was  before  1570 ;  but  at  no  time  was  he  an  exponent 

166 


of  his  master's  spirit,  the  proof  being  that  before 
the  signatures  were  noticed  his  historical  pictures 
were  attributed  to  Bassano,  to  Paolo  Veronese,  to 
Baroccio  and  to  Clovio,  but  never  to  Titian,  and 
had  he  not  signed  them  it  is  doubtful  whether  he 
ever  would  have  obtained  due  recognition.  What 
El  Greco  painted  in  Venice  before  the  year  1570, 
besides  the  still  unidentified  portrait  of  himself,  is 
not  known  ;  a  number  of  his  early  works,  probably 
painted  for  the  Cardinal  Nepote  Farnese,  in  whose 
palace  he  lived,  having  been  preserved  in  the 
collection  of  the  Palazzo  Farnese,  and  the  rest 
forming  a  series  in  the  first  of  which  Julio  Clovio, 
his  patron  at  Rome,  appears,  point  to  their  having 
been  painted  during  his  stay  there.  These  early 
works  consist  of  two  pictures  representing  the 
'  Healing  of  the  Blind  Man,'  one  of  which  is  at 
Dresden,  the  other,  a  signed  one,  at  Parma,  and 
four  representing  '  Christ  driving  the  Money 
Changers  out  of  the  Temple,'  one  being  in  the 
Yarborough  Collection  (signed  in  Greek  capitals), 
another  in  the  collection  belonging  to  Sir  Frederick 
Cook,  and  of  the  two  others,  which  are  more 
modern  in  style  and  show  a  greater  command  of 
technique,  one  is  in  the  National  Gallery  and  the 
other  in  Sr.  Beruete's  Collection  at  Madrid  ;  they 
are  striking  examples  of  El  Greco's  personality 
triumphing  over  the  Romanesque  atmosphere  and 
the  mannerism  prevalent  in  his  surroundings. 
The  first  authenticated  portrait  by  El  Greco,  with 
its  unmistakable  signature  in  Greek  characters,  is 
that  of  his  fellow-countryman  and  patron,  Julio 
Clovio  ;  it  was  painted  between  El  Greco's  arrival 
in  Rome  in  1570  and  Clovio's  death  in  1578 ;  it  is 
now  at  Naples.  Next  comes  a  portrait  of  Vincentio 
Anastagi — a  Knight  of  St.  John  who  died  in  1586, 
aged  fifty-five;  it  is  mentioned  by  Stirling  (p.  1357), 
who  gives  the  Italian  inscription  describing  his 
prowess,  and  Sir  Edmund  Head  in  alluding  to  it 
says :  "  It  is  signed  by  the  painter  in  Greek 
characters,  but  its  present  wliereabouts  cannot  be 
traced.''  The  last  portrait  painted  by  El  Greco 
while  under  the  influence  of  the  Italian  School 
appears  to  be  that  of  a  Cardinal,  now  in  the 
National  Gallery,  of  which  four  replicas  painted 
in  Spain  are  known  ;  and  his  Italian  career  closes 
with  a  genre  painting,  a  half-length  figure  of  a 
peasant  boy,  now  in  the  Museum  at  Naples, 
perhaps  a  study  for  the  genre  group  belonging  to 
M.  Christian  Cherfils  in  Paris,  of  the  boy,  the 
girl,  and  the  monkey.  There  is  no  documentary 
evidence  of  the  date  of  El  Greco's  arrival  in  Spain, 
or  the  reasons  that  brought  him  there,  and  when, 
in  a  judicial  writ  served  upon  him  in  1579  in 
connection  with  the  'Espolio'  painted  for  the 
Cathedral,  he  was  asked  whether  he  had  been 
brought  to  Toledo  to  paint  the  reredos  of  the 
Church  of  Santo  Domingo  el  Viejo,  then  finished 
and  erected  in  the  said  Church,  he  replied  that  he 
was  neither  bound  to  say  why  he  came  to  that 
city  nor  to  answer  the  other  questions  put  to  him. 
This  document  and  the  signature  and  date  (1577) 
on  the  '  Assumption,'  the  centre  painting  of  the 
reredos,  now  at  Aranjuez,  and  replaced  by  a  poor 
copy,  and  the  items  of  the  accounts  relating  to 
the  work  in  the  new  ch\irch,  according  to  which 
"  Dominico  Theotocopuli  painted  the  eight  pictures 
on  the  High  Altar  and  side  altars,  receiving  for 
the  whole  1000  ducats,"  are  the  earliest  and  only 
clues  to  the  date  at  which  he  took  up  his  residence 
and  work  in  Spain.  He  may  possibly  have  been 
•attracted  by  the  prospect  of  participating  in  the 


DOMENICO  THEOTOCOPULI 

CALLED 

EL  GRECO 


.1/.  Moreuo,  Miuhui,  /'hofo 


^CkurJi  of  Sd-ito  TumJ,  ^  Foledu 


THE  BURIAL  OF  THE  COUNT  OF  OR(iAZ 


PAINTERS  AND  ENGRAVERS. 


decoration  of  the  Escorial,  which  was  in  active 
progress  in  1675,  the  then  Spanish  Ambassador 
having  recruited  the  first  batch  of  workers  in 
Rome  as  early  as  1567.  Toledo  was  a  home 
eminently  suited  to  one  of  El  Greco's  temperament, 
and  he  was  the  man  to  give  to  Toledo,  already 
rich  in  architecture,  sculpture,  &c.,  what  she 
lacked  in  painting.  El  Greco  was  residing  at 
Toledo  when  Philip  II.  returned  from  Madrid  with 
the  relics  of  San  Eugenie  and  Santa  Leocadia  ;  he 
witnessed  the  expulsion  of  the  Moors  and  experi- 
enced tlie  workings  of  the  Inquisition.  Cervantes, 
Lope  da  Vega  and  Santa  Teresa  were  amongst  the 
many  celebrities  that  lived  at  or  passed  through 
Toledo,  and  the  cigarrales  or  orchards  on  the 
opposite  bank  of  the  Tagus  formed  the  most 
delightful  of  meeting-places  for  those  distinguished 
men. 

El  Greco's  first  works  in  Toledo  were  the 
paintings  for  the  High  Altar  of  Santo  Domingo  el 
Antiguo,  and  simultaneously  with  them  he  painted 
his  famous  'Disrobing  of  Christ'  or  'El  Espolio' 
which  now  adorns  the  High  Altar  in  the  Sacristy 
of  the  Cathedral,  and  was  handed  over  to  the 
Chapter  before  the  inaugural  Mass  was  said,  on 
September  22,  1579,  at  Santo  Domingo.  The 
'  Espolio'  is  a  perfect  example  of  El  Greco's  tend- 
ency to  group  everything  round  the  principal  figure, 
shutting  out  the  landscape,  for  after  his  arrival  in 
Spain  he  never  used  Italian  backgrounds.  '  Christ 
bearing  tlie  Cross'  was  painted  about  the  same 
time. 

El  Greco  realized  the  existence  of  cold  tones 
and  bravely  painted  what  he  saw  when  every  one 
else  was  basking  in  warm  tonalities,  and  his  greys 
are  a  remarkable  anticipation  of  modern  art.  A 
legal  question  arose  between  the  artist  and  the 
Chapter  about  the  price  of  the  'Espolio.'  On 
June  15,  1579,  the  Chapter  and  the  artist,  accord- 
ing to  custom,  appointed  their  respective  valuers. 
Dissensions  arising,  a  final  arbitrator  was  named 
on  June  27.  On  July  5  El  Greco's  valuers  declared 
the  work  wortli  £90,  while  the  Cathedral  authorities 
on  July  11  said  £25  and  required  some  alterations, 
and  on  July  23  the  arbitrator  pronounced  it  wortli 
£35.  Tliis  was  notified  to  El  Greco  on  August 
17,  and  on  September  23  the  Chapter  asked  the 
Mayor  of  Toledo  to  oblige  him  to  fulfil  the 
arbitrator's  decision,  and  insisted  upon  his  giving 
Becurities  ;  on  the  Mayor  proving  hostile  the 
refractory  artist  appeared  humbly  before  him, 
capitulating  in  writing  and  promising  to  make 
the  required  alterations  ;  they  were  never  made, 
and  the  Chapter  only  paid  the  rest  of  the  money 
two  years  later,  on  December  8, 1581.  The  Chapter 
commissioned  him  to  do  the  "  wooden  ornamenta- 
tion" for  the  reredos  to  frame  the  'Espolio.'  On 
March  5,  1582,  he  received  1000  ducats,  the  whole 
price  agreed  upon  by  valuation  on  February  20, 
1585,  being  £53  4s.  Shortly  before  April  25, 
1580,  El  Greco  was  commissioned  by  Philip  II.  to 
paint  the  History  of  San  Mauricio  and  his  com- 
panions for  the  altar  dedicated  to  him  at  the 
Escorial.  The  Saint  is  represented  encouraging 
his  legion  to  die,  but  the  King  preferred  morbid 
scenes  of  torture  and  was  not  satisfied.  The  artist's 
masterpiece  is  generally  considered  'The  Burial 
of  the  Conde  de  Orgaz '  ;  for  it  he  received  £120. 
In  the  lower  half  the  Count,  surrounded  by  gentle- 
men and  ecclesiastics — unmistakable  portraits — is 
being  laid  to  rest  by  St.  Stephen  and  St.  Augustine. 
Above  is  a  Glory,  where  in  brilliant  contrast  to  the 


sombre  scene  below  the  artist  gives  free  rein  to 
his  imagination.  Canon  Pisa  thinks  the  'Burial' 
was  painted  after  October  23,  1584,  when  the 
Cardinal  Archbishop  Quiroja  gave  the  permission, 
yet  on  the  corner  of  the  handkerchief  peeping  out 
of  the  little  page's  pocket  1578  appears  in  Greek 
characters. 

El  Greco  also  did  the  paintings  for  the  retable 
in  the  Collegio  de  Dona  Maria  de  Aragon  at  Madrid, 
and  was  paid  £(353.  The  first  Mass  was  said 
there  on  April  11,  1590.  Probably  the  'Baptism' 
and  the  'Crucifixion,'  now  Nos.  2124c  and  2124  in 
the  Prado  Museum,  belonged  to  it ;  in  his  'Resur- 
rection' all  traces  of  Italianism  have  disappeared. 
Between  1595  and  1600  El  Greco  executed  two 
groups  of  paintings  which  show  his  art  and 
technique  under  a  new  aspect — the  altars  in  the 
Chapel  of  San  3osi  at  Toledo  and  those  in  the 
Church  of  the  Hospital  de  la  Caridad  at  lUescas. 
The  chapel  was  consecrated  on  December  26, 
1594.  In  a  deed  executed  on  December  13,  1599, 
the  valuation  was  approved  at  £313,  and  it  says 
Dominico  had  undertaken  tlie  work  by  contract 
on  November  20,  1597.  In  the  centre  is  a  full- 
length  St.  Joseph  with  the  Child  Jesus  walking 
beside  him  and  three  angels  descending  to  strew 
flowers.  Over  the  altar  of  the  Epistle  are  the 
Virgin  and  Child,  and  at  their  feet  Sta.  Inez  and 
Sta.  Feda,  the  latter  with  her  hand  on  a  lion's  head 
bearing  on  its  forehead  El  Greco's  initials,  A  a. 
Over  the  Altar  of  the  Gospel  is  St.  Martin  de  Tours 
on  a  white  horse  dividing  his  cfqya  with  a  beggar. 
The  five  paintings  for  the  church  at  lUescas  must 
have  been  painted  shortly  before  1600,  for  in  that 
year  El  Greco  secured  exemption  from  taxation 
for  the  art  of  painting  from  the  taxgatherer  of 
Illescas  ;  it  is  thouglit  he  painted  a  sixth  canvas, 
probably  '  The  Marriage  of  the  Virgin  '  now  at 
Bucharest.  'The  Dream  of  Philip  II.'  was  not  at 
the  Escorial  in  1605  when  the  History  was  written  ; 
it  was  most  likely  painted  in  memory  of  his  deatli 
in  1598,  and  the  figures  of  San  Eugenio  and  San 
Pedro  are  supposed  to  come  from  San  Vicente, 
Toledo. 

St.  Francis  was  frequently  painted  by  El  Greco, 
the  principal  examples  are  mentioned  in  tlie  list; 
also  other  Saints,  and  besides  the  portraits  in  the 
'Burial,'  those  of  donors  and  others  in  pictures, 
there  are  now  known  thirty-two  independent  and 
authenticated  portraits  by  El  Greco,  tliree  at- 
tributed to  him,  eight  mentioned  in  old  trust- 
wortliy  catalogues,  and  four  doubtful  ones,  the 
portrait  of  a  lady  said  to  be  his  daughter  being 
full  of  charm  ;  those  of  Cardinal  Tavera,  Nino  de 
Guevara,  and  Paravicino,  are  most  remarkable. 
Two  landscapes,  both  representing  Toledo,  and  a 
few  sculptures  complete  the  sum  of  his  work. 
The  entry  of  his  death  is  to  be  found  amongst 
those  for  the  month  of  April  1614,  on  folio  335  in 
the  '  Book  of  Burials  in  Santo  Tomas  from  the 
year  1601  to  1614.'  It  reads  :  "Dominico  Greco. 
On  the  seventh  instant  dominico  greco  died,  he 
made  no  will,  he  received  the  sacraments,  he  was 
buried  in  Santo  Domingo  el  antiguo,  he  provided 
tapers." 

Most  of  the  foregoing  information  is  derived 
from  Seuor  Don  Manuel  Cossio  of  i\Iadrid,  who  for 
many  years  has  been  maldng  a  special  study  of  El 
Greco,  and  who  is  now  publishing  with  George 
Bell  &  Sons  an  exhaustive  work  on  the  artist, 
which  is  being  translated  by  the  undersigned. 
His  book  contains  a  list  of  all  El  Greco's  known 

167 


A  BIOGRAPHICAL  DICTIONARY  OP 


works,  and  a  bibliography  of  books  and  documents 
relating  to  the  artist.  g_  jj_  g^ 

List  of  pictures  by  EI  Greco : 

Bucharest.  Marriage  of  the  Virgin. 

Dresden.  Healing  of  the  Blind  Man. 

Glasgow.    McCorkindah  )  ~,     -,  ^.  ., 

CoUectian  (olim.).]^'"^  Nativity. 
Illescas.     Church  of  the^ 

Hospital  de  la  V  Figure  of  Charity. 
Caridad.  J 
»i  ,t  Coroiiafiou  of  the  Virgin. 

»  „  Tlie  Birth  of  Our  Lord. 

»  u  The  Auuuuciation. 

>'  II  Portrait  of  San  Isidoro. 

Keir.     Sir  John  Stirling )  Small  replica  of  the '  Dream  of 

Maxwell.  J      PhUip  II.' 
London.  2fat.  Gall.     Christ  driring  out  the  Money 

Changers. 
»>  _      „  Portrait  of  a  Cardinal. 

).  Yarhorough  I  Christ  driving  out  the  Money 

Collection.  /      Changers  (signed). 
Madrid.  Prado  3Iuseum.     The  Baptism. 
»»  ji  The  Crucifixion. 

»>  n  The  Resurrection. 

..  „  125.     St.  Paul. 

»  «  Christ  dead  in  the  arms  of  the 

Eternal  Father. 
„     Don  Pahlo  Borch.    Good  replica  of  '  Coronation  of 

the  Virgin.' 
,1  Son  Ignacio  \  St.    Francis     {early    manner, 

Zuloaga.  j      siqned). 
„  Marquis  de  Cerralho.     St.  Francis. 
„       Marquis  de  Casa  )  cu.  c.  i.    i- 

Torres,  j  ^''  Sebastian. 
»  Museum.    St.  Antony  of  Padua. 

„  aiapttr  Hall,  1  ,,       •  .     ,  ,  -^ 

Escorial.  \  "^^  Mauricio  del  Escorial. 
)i  Dream  of  Phihp  II. 

>i  San  Eugenio  and  San  Pedro. 

II  Sr.  Beructe.    Christ  driving  out  the  Money 

Changers. 
Naples.  Half-length  of  a  Peasant  Boy. 

Palencia.  Cathedral.     St.  Sebastian. 

Paris.  M.  Christian  IGe-Dre  picture  :  Boy,  Girl,  and 

Cherjils.  J      Monkey. 
,1       Don  Raimundo  de)  „  ,     -r.      ., 

Madrazo.  j  °°'y  ^'''"'^y- 
,1  M.  L.  Manzi.     Portrait  (perhaps  San  Luis). 

Parma.  Healing  of  the  Blind  Man. 

Prades,7'a7«isde7M/tc«.')  Crucifixion     (given      ly      M. 

Eastern  Pyrenees.         j      Pereire). 
Eiehmond.  Sir  F.  Cook's  \  Christ  driving  out  the  Money 

Collection.  (      Changers. 
Toledo.  Cathedral.    El  Espolio.     (W.B.— There  are 

ten  replicas  of  the  *  Espolio '  ; 
•Sr.  Beruete  has  one  siqned.) 
II        Ch.  of  Sta.  Tome.  Burial  of  the  Count  of  Orgaz. 
»  Parting    of    Christ    and    the 

Virgin   (belonging   to   Count 
of  Oiiate,  and.  kept  by  nuns  at 
&aii  Pablo  Ermitaiw). 
„  Provincial)  „.    _     ,,    , 

Museum.  r^^^^^°^°'^''^- 
„    Chapel  of  San  Jose.     St.  Joseph. 
II  II  The  Coronation  of  the  Virgin. 

1)  11  The    Virgin   and   Child  with 

Sta.  luez  and  Sta.  Feda. 
»  II  St.  Martin  de  Tours  on  horse- 

back. 
Christ  bearing  the  Cross.    (N.B.— There  are  six  replicas 

of  this  picture .) 
St.  Francis:— (1)  Escorial;  (2)  Pidal;  (3)  Queuto ;  (4) 
Castro  Sema;    (5)    Moret ;    (6)    St.   Erguil.-iz ;    (7) 
Museum,  Lille;    (8)    Scouloudy ;    (9)   Collegio  de 
Doncellas. 
St.  Bernard. 
St.  Dominic. 
Laocoon  aud  his  sons. 
Landscapes. 

Panoramic  View  with  Boy. 
Landscape. 

Eight   pictures    for    the    High   Altar    of   San 
Domingo  el  Antiguo : 
168 


Trmity  (now  jn  Prado  Museum,  Madrid,  replaced  hi 

'  Adoration  of  the  Shepherds '). 
St.  John  the  Baptist. 
Moses. 

The  Assumption, 
St.  Bernard. 
San  Benito. 
Holy  Face. 
The  Nativity. 

PORTRAITS. 

Madrid.        Coll.  of  Don  1  „ 

Tamer  de  Muguiro.  ]  Pa^avicmo. 
II  Prado.     Eodrigo  Vasquez. 

II  1 1        Seven  unidentified  Portraits. 

Count  of  Onate.     Nifio  de  Guevara. 
Naples.  Julio  Clovio. 

St.  Petersburg.  Alonso  Ercield. 

Toledo.  Provincial  1  ^  a    ..     •    j    ^  ,  • 

Museum   \  '-'•'°°°  Antonio  de  Covarrubias. 

II  II  Don  Diego  de  Covarrubias. 

Vienna.  Portrait  of  a  Young  Man. 

Cardinal  Tavera  (missing). 

Pompeyus  Leoni  (missing). 

Portrait  of  himself  (not  identified). 

Viuceutio  Anastagi  (no  trace). 

Unidentified :  A  Monk,  Three  Ecclesiastics,  A  Physician, 
A  Painter,  A  Poet,  Two  Ladies,  one  with  fur,  said 
to  be  El  Greco's  daughter,  belongs  to  Sir  J.  StirUng 
Maxwell ;  Ten  Gentlemen. 

THERBUSCH,    Anna    Dorothea.     See    Lisc- 

ZEWSKA. 

THESSEL,  Anton  Moritz  FiJROHTEGOTT,  was 
bom  at  Wurzen  in  Saxony,  in  1830.  He  studied 
first  under  Friedrich  Nestler,  and  then  worked  from 
nature,  in  the  neighbourhood  of  Dresden,  Bavaria, 
the  Tyrol,  and  Switzerland.  He  died  at  Dresden 
in  1873. 

THEVENIN,  Charles,  painter,  was  born  in  Paris 
in  1760.  He  was  a  pupil  of  Vincent,  and  won  the 
Prix  de  Rome  in  1791.  He  became  a  member  of 
the  Institut  in  1825,  and  keeper  of  the  prints 
in  the  Bibliotheque  Royale  in  1829.  He  died  in 
1838.     Among  his  works  are  : 

CEdipus  in  the  Storm  with  Antigone. 

The  Capture  of  Gaeta  by  Ney. 

Augereau  at  Areola.     (  Versailles.) 

The  Passage  of  the  French  over  the  St.  Bernard.   (Do.) 

The  ]-!.attle  of  Jena. 

The  Martyrdom  of  Stephen.  (Paris;  S.  Etienne  da 
Mont.) 

And  other  works  at  Angers,  Douai,  and  the  Great 
Trianon. 

THEVENIN,  Claude  Noel,  painter,  was  bom 
at  Cr^inieux  (Is^re),  in  1800.  He  was  a  pupil  of 
Maricot  and  of  Abel  de  Pujol,  and  was  a  frequent 
exhibitor  at  the  Salon  from  1822  to  1849,  in  which 
latter  year  he  died  in  Paris.  At  the  Ministere  de 
rinterieur  there  is  an  '  Apostles  at  the  tomlj  of  the 
Virgin'  by  him,  and  at  Versailles  the  following 
portraits . 

Louis  XI. 

Lieut. -General  Jean  Etienne  de  Perz  de  Grassier. 

Marshal  Augereau. 

Jean  Chapelain,  poet,  and  founder  of  the  Comiti  Central 
des  Artistes. 

THEVENIN,  Jean  Charles,  engraver,  born  at 
Rome  in  1819,  was  the  son  and  pupil  of  Charles 
Thevenin,  and  pupil  also  of  Mercuri  and  Henriquel. 
He  killed  himself  in  1869,  at  Rome,  by  throwing 
himself  from  the  top  of  St.  Paul's  Without  the 
Walls.     Among  his  plates  are : 

St.  Luke  painting  the  Virgin  ;  after  Raphael. 

The  Charitable  Child  ;  after  Ary  Scheffer. 

The  '  Madonna  delta  Tenda ' ;  after  Saphael. 

The  Mandolin  Player ;  after  Ingres. 

Susannah  in  the  Bath  ;  after  Correggio. 

The  Children  of  Charles  I. ;  after  Vandyck. 

Beatrice  Cenci ;  after  Guido. 


PAINTERS  AND  ENGRAVERS. 


An  Allegory  (Alfonso  d'Avalos  and  a  young  woman) ; 
after  Titian. 

THEW,  Robert,  an  excellent  engraver  in  the 
chalk  and  dotted  manner,  was  born  at  Patrington, 
Holdernesse,  in  IT/iS,  served  till  1783  as  a  soldier, 
and  then  at  Hull  took  to  engraving  visiting  cards 
and  addresses.  His  Head  of  an  Old  Woman,  after 
Q.  Dou,  first  brought  him  into  notice,  and  he  was 
afterwards  employed  by  Boydell  on  the  large  plates 
for  his '  Shakespeare. '  Of  these  he  engraved  scenes 
from 

The  Tempest ;  after  Wriyit. 

The  Merry  Wives  of  'Winclsor ;  after  Peters. 

The  Taming  of  the  Shrew  ;  after  Smirke. 

A  "Winter's  Tale ;  after  Hamilton. 

As  You  Like  It  (the  Lover  in  the  Seven  Ages) ;  after 

Smirke. 
The  Cauldron  scene  in  Macbeth  ;  after  Reynolds. 
King  John  ;  after  NoHheote. 
Richard  II.  (BoUngbroke  entering  London) ;   after  the 

same. 
Henry  lY.  (the  Boar's  Head  Tavern) ;  after  Smirke. 
Henry  IV.  (,Henry  asleep) ;  after  Boydell. 
Henry  VI.  (Countess  of  Auvergue's  Castle) ;  after  Opie. 
Mortimer  and  Richard  Plantagenet ;  after  Xorthcote. 
Richard  III.  (Burial  of  the  Children) ;  after  the  same. 
Henry  VIII. ;  after  Peters. 
Timon  of  Athetis  ;  after  Opie. 
Cymbeline,  Imogen  and  Pisanio ;  after  Hoppner. 
Hamlet  (Ghost  on  the  Platform) ;  after  Fuseli. 

Of  his  independent  plates,  the  best  is  '  Wolsey 
entering  Leicester  Abbey,'  after  Westall.  He  held 
the  appointment  of  engraver  to  the  Prince  of  Wales, 
and  died  at  Stevenage  in  1802. 

THIBAULT,  Jean  Thomas,  painter  and  archi- 
tect, was  born  at  Montierender,  Haute  Marne,  in 
1767.  He  at  first  painted  landscapes,  but  after- 
wards took  to  architecture,  and  went  as  King's 
Pensioner  to  Rome,  where  he  studied  from  the 
antique.  On  his  return  he  became  a  member  of  the 
'  Institut,'  and  Professor  of  Perspective  at  the  Ecole 
des  Beaux  Arts,  and  wrote  a  practical  handbook 
on  that  science,  which  was  published  by  his  pupil, 
Chapuis.     He  died  in  Paris,  June  27th,  1826. 

THIBOUST,  BenoIt,  a  French  engraver,  born 
at  Chartres  about  the  year  1655.  He  resided  some 
years  at  Rome,  where  he  engraved  several  single 
plates  after  Italian  masters,  and  a  set  of  thirty- 
four  from  the  Life  of  St.  Turribius,  after  Gio. 
Battista  Gaetano,  entitled  'Vita  Beati  Turribii, 
Archiepiscopi  Limani  in  Indiis.'  These  were 
published  at  Rome  in  1679.  He  worked  with  the 
graver  only,  in  a  style  resembling  that  of  Mellan, 
at  a  respectful  distance.  The  following  independent 
prints  by  him  may  be  mentioned : 

St.  Theresa  ;  after  Bernint. 

St.  Bibiena ;  after  the  same. 

St.  Thomas  d'Aquiaas;  after  Giacinto  Calaniritcci. 

St.  Rosa  kneeling  before  the  Virgin  ;  after  Baldi. 

The  Martyrdom  of  St.  Peter;  after  the  same. 

St.  Peter  of  Alcantara ;  after  the  same. 

The  Crucifixion  ;  after  Pulzone. 

THIBLE,  JoHANN  Alexander,  was  bom  at 
Erfurt,  in  Saxony,  in  1685.  He  began  life  as  a 
soldier,  and  is  said  to  have  been  a  scholar  of  0.  L. 
Agricola,  but  was  chiefly  a  student  from  nature. 
His  pictures  represent  the  beautiful  scenery  on  the 
banks  of  the  Saal  and  the  Elbe.  He  was  appointed 
painter  to  the  court  of  Dresden,  and  has  the  credit 
of  having  been  the  master  of  Dietricy.  We  have 
several  original  etchings  by  Thiele,  of  views  in 
Saxony,  dated  from  1726  to  1743.  He  died  at 
Dresden  in   1752.      His   son  Johann  Feiedbich 


Alexander,   born   1747,   died   1803,  was   also   a 
landscape  painter  and  engraver. 

THIELEN,  Jan  Philip  van,  (from  his  mother 
called  RiGonLTS,  or  Righolz,)  Herr  van  Couwen- 
BERCH,  was  born  at  Mechlin  in  1618.  He  was  of  a 
noble  family,  and  was  Seigneur  of  Cowenberch,  on 
which  account  he  usually  signed  his  pictures 
J.  P.  Cowenberch.  An  early  inclination  for  art 
induced  him  to  study  in  the  atelier  of  Rombouts, 
and  also  to  take  lessons  of  Daniel  Zeghers.  In 
competition  with  Zeghers,  he  was  engaged  to 
paint  a  picture  for  the  Abbey  of  St.  Bernard,  near 
Antwerp,  on  which  occasion  he  exerted  all  his 
ability,  and  his  performance  was  judged  to  be 
little  inferior  to  that  of  his  master.  He  arranged 
his  flower-pieces  with  taste ;  and  though  his  pic- 
tures are  less  brilliant  than  those  of  Zeghers,  they 
are  highly  finished  and  good  in  colour.  He  par- 
ticularly excelled  in  representing  insects.  Poelen- 
burgh  and  others  occasionally  painted  figures  in 
the  centres  of  his  flower  garlands.  Several  of  his 
best  productions  are  in  the  royal  collections  in 
Spain,  and  the  Vienna  Gallery  has  three  pictures 
by  him.  He  died  in  1667.  His  daughters  and 
pupils,  JIaria  Theresa,  Anna  Maria,  and  Frances 
Katharina,  attained  considerable  excellence  as 
flower  painters.  Maria  Theresa,  the  eldest,  also 
painted  portraits  with  some  success. 

THIELENS,  Jan,  a  Flemish  painter,  who 
flourished  at  Antwerp  about  1694.  He  painted 
the  interiors  of  studios  and  laboratories,  in  the 
manner  of  David  Teniers. 

THIENON,  Anne  Cladde,  painter,  born  in  Paris 
in  1772,  studied  in  Paris  and  Italy,  and  painted 
large  landscapes  in  water-colours  from  the  scenery 
round  Rome  and  in  provincial  France.  He  ex- 
hibited at  the  Salon  from  1798  to  1822,  and  died 
in  Paris  in  1846. 

THIERRIAT,  Augdstin  Alexandre,  a  French 
subject  and  flower  painter,  was  born  at  Lyons  in 
1789.  He  was  a  pupil  of  Grognard  and  Revoil, 
and  first  exhibited  at  the  Salon  in  1817.  In  1823 
he  was  appointed  a  Professor  in  the  Lyons 
Academy,  and  subsequently  Director  of  the  Museum. 
He  also  founded  at  Lyons  the  '  Galerie  des  Peintres 
Lyonnais.'  These  occupations  left  him  but  little 
leisure  for  painting  in  his  later  years.  He  died 
at  Lyons,  April  14th,  1870. 

THIERRY  de  HAARLEM.     See  Bonxs. 

THIERRY,  E.  J.,  engraver,  born  in  Paris  in 
1787,  was  the  son  and  pupil  of  Jacques  Etienne 
Thierry,  the  architect.  He  was  chiefly  engaged 
on  plates  for  books  on  architecture.  He  was  the 
author  of  a  'Cours  pratique  de  Dessin  lineaire, 
contenant  145  Planches.'  He  engraved  the  plates 
for  Delaborde's  '  Voyage  en  Espagne.' 

THIERRY,  Joseph  Franqois  Desire,  painter, 
born  in  1812,  was  a  pupil  of  Gros,  and  studied 
at  the  lllcole  des  Beaux  Arts.  He  exhibited  many 
landscapes  at  the  Salon  from  1833,  but  is  better 
known  as  scene-painter  to  the  opera.  In  conjunc- 
tion with  Cambon,  he  furnished  scenery  for  the 
following  operas : 
Le  Prophete.  Joseph. 

Jerusalem.  Quentiu  Durward. 

The  Wandering  Jew.  L'Etoile  du  Nord. 

The  Bleeding  -Nim.  Midsummer  Night's  Dream. 

He  died  in  Paris,  November  11th,  1866. 

THIERRY,  Wilhelu,  painter  and  architect, 
was  born  at  Bruchsal  in  1766.  He  studied  land- 
scape at  Mannheim,  under  Ferdinand  Kobell.  In 
1810  he  went  to  Carlsruhe,  where  he  studied  under 

169 


A  BIOGRAPHICAL  DICTIONARY  OF 


Weinbrenner,  and  finally  devoted  himself  entirely 
to  architecture.  He  etched  a  few  landscapes.  He 
died  in  1823. 

THIERS,  Baron  de,  a  French  amateur  engraver, 
who  etched  a  few  landscapes  and  subjects  after 
Boucher.     He  was  living  about  the  year  1760. 

THIERS,  Le.     See  Letiiiere. 

THIFEKNATI,  Francesco,  an  artist  of  the 
Perugian  School,  of  whom  very  little  is  known.  An 
'Annunciation'  in  St.  Domenico,  a  similar  subject 
iu  the  cathedral,  and  other  less  important  pictures 
by  him  may  be  seen  at  Citta  di  Castello. 

THIM,  Moses,  a  German  printer  and  engraver, 
resided  at  Wittenberg  about  the  year  1G13,  and  is 
said  to  have  marked  his  plates  with  the  initials 
M.  T.,  sometimes  separate,  sometimes  in  a  mono- 
gram,   ]^. 

THIRION,  Charles  Victor,  a  French  subject 
painter  and  engraver,  born  at  Langres  in  1833. 
He  was  a  pupil  of  Gleyre  and  Bouguereau.  His 
works  first  appeared  at  the  Salon  in  1861.  He 
scraped  several  mezzotints  after  Bouguereau,  Lob- 
richon,  and  others.     He  died  in  1878. 

THIRION,  EuG&NB  RoMAiN,  French  painter ; 
born  in  Paris,  May  19,  1839  ;  studied  at  the  flcole 
des  Beaux  Arts,  and  with  Cabanel  and  Picot ; 
made  his  d^ut  in  1861  at  the  Salon  with  '  Homfere, 
aveugle.'  His  pictures  were  remarkable  for  their 
clever  composition  and  powerful  colouring,  and 
dealt  mainly  with  episodes  of  the  early  Christian 
era.  Notable  among  these  were  his  '  Saint  Syl  vain. 
Martyr'  (in  the  Tours  Museum),  'Saint  S^verin 
distribuant  des  Aumones '  (in  the  Caen  Museum), 
and  others.  He  painted  a  decorative  panel  for 
the  Hotel  de  Ville  in  Paris,  and  similar  works  of 
bis  adorn  the  French  War  Office.  As  a  portrait- 
painter  he  was  also  well  known.  He  obtained 
medals  in  1866,  18G8,  and  1869,  and  received  the 
Legion  d'Honneur  in  1872,  and  two  second-class 
medals  at  the  Universal  Exhibition  of  1878  and 
1889.     He  died  in  Paris  in  1 898. 

THIRTLE,  John,  an  English  water-colour 
painter,  born  at  Norwich  in  1774,  of  humble 
parentage.  He  was  one  of  the  Croine  circle,  and 
married  a  sister  of  J.  S.  Cotman.  A  member  of 
the  Norwich  Society,  he  contributed  largely  to  its 
exhibitions,  sending  on  one  occasion  as  many  as 
thirteen  works.  His  practice  included  portrait 
painting,  and  in  1816  he  exhibited  his  own  portrait 
on  the  walls  of  the  Society.  He  only  once,  in  1808, 
appeared  at  the  Royal  Academy.  His  landscape 
subjects  were  taken  from  Wales  and  the  Thames, 
as  well  as  from  the  neighbourhood  of  Norwich  and 
the  Norfolk  coast.  He  died  at  Norwich,  September 
29th,  1839.  Two  of  his  water-colour  drawings  are 
in  the  South  Kensington  Museum. 

THIRY,  LfioNAKD,  called  Leo  Daven,  or 
D'AvESNE,  was  born  at  Bavay,  Belgium,  about 
1500.  He  was  both  painter  and  engraver,  and 
worked  at  Fontainebleau  with  Rosso  and  Primatic- 
cio.  Bartsch  enumerates  sixty-nine  plates  by  him, 
of  religious,  historical,  and  mythological  subjects. 
He  died  about  1550. 

THO.M,  James,  painter,  was  born  at  Edinburgh 
about  1785.  After  a  term  of  study  in  his  native 
city,  he  came  to  London,  where  he  practised  for 
some  years.  In  1815  he  exhibited  at  the  Royal 
Academy.  His  '  Young  Recruit '  was  engraved 
by  Duncan  in  1825. 

THOMAN,  (or  Thomann,)  Christian  Ray- 
mond, a  German  engraver,  who  flourished  about 

170 


the  year  1739.  He  engraved  some  of  the  plates 
for  the  collection  of  prints  from  the  antique  marbles 
at  Dresden. 

THOMANN  VON  HAGELSTEIN,  Jakob  Ernst, 
born  at  Lindau  in  1588.  He  received  his  first  instruc- 
tion in  tlie  art  from  an  obscure  painter  in  his  native 
town.  At  the  age  of  seventeen  he  travelled  to 
Italy,  and  on  his  arrival  at  Rome  became  a  disciple 
of  Adam  Elsheimer,  whose  style  he  imitated  with 
.  success.  During  a  residence  of  fifteen  years  in 
Italy,  he  visited  Naples  and  Genoa,  wliere  his 
pictures  were  held  in  no  less  esteem  than  at 
Rome.  After  the  death  of  Elsheimer  he  returned 
to  Germany,  and  established  himself  at  Lindau. 
He_  painted  small  and  neatly  finished  landscapes, 
enriched  with  figures  representing  historical  or 
Biblical  subjects.     He  died  at  Lindau  in  1653. 

THOMANN  VON  HAGELSTEIN,  Philip  Ernst, 
the  grandson  of  Jakob  Ernst,  was  born  at  Augs- 
burg in  1657.  He  was  a  mezzotint  engraver,  and 
painted  some  pictures  for  churches.  Among  his 
prints  one  is  mentioned  by  Laborde  as  being 
tolerably  good;  it  is  the  half-length  portrait  of 
Narcissus  Rauner  in  ecclesiastic  costume.  He  died 
in  1726. 

THOMAS,  Charles  Arjiand  Etienne,  painter, 
was  born  in  Paris  in  1867,  and  after  studying 
under  Leclaire  became  a  flower  and  landscape 
painter  of  great  promise.  His  first  exhibit  at  the 
Salon  was  'Peonies'  in  1878,  and  from  that  date 
his  pictures  appeared  regularly.  His  'Eve  of  the 
Festival'  in  1886  obtained  him  a  third-class  medal, 
and  was  purchased  for  the  Havre  Museum.  In 
1889  he  won  an  honourable  mention  for  'Rose- 
bushes at  Petit-Saint-Simeou'  and  'Farm  at  Vasouy, 
Calvados.'  In  1890  he  exhibited  'Orchard,  Cal- 
vados.' In  the  Salon  of  1892,  after  his  death,  a 
flower  picture  and  a  landscape,  'Moonrise  on  a 
Terrace  at  Honfleur,'  were  exhibited.  He  died  in 
Paris  in  April  1892.  jf,  n. 

THOMAS,  George  Hodsman,  painter,  was  borii  in 
London  in  1824.  He  worked  for  a  time  with  the 
wood  engraver,  Bonner,  and  then  went  to  Paris, 
where  he  began  his  career  as  a  book  illustrator. 
In  Paris  he  was  commissioned  to  make  illustrations 
for  an  American  paper  in  New  York,  and  also  to 
supply  designs  for  American  banknotes.  He  after- 
wards went  to  Italy,  and  being  present  at  the 
defence  of  Rome  by  Garibaldi,  he  supplied  the 
'  Illustrated  London  News '  with  a  series  of  in- 
teresting sketches,  and  was  permanently  retained 
on  the  staff  of  that  journal.  He  was  much  em- 
ployed by  Queen  Victoria  to  make  drawings,  and 
Her  Majesty  possessed  an  album  of  sketches,  in 
which  she  herself  and  Prince  Albert  frequently 
figured.  Among  his  illustrations  we  may  name 
those  for  '  Uncle  Tom's  Cabin,'  and  for  Wilkie 
Collins'  'Armadale';  and  among  his  pictures, 
'Rotten  Row,'  'Apple  Blossoms,' &c.  He  died  at 
Boulogne  in  1868,  from  the  eft'ects  of  a  fall  from 
his  horse.  The  following  pictures  are  in  the  Royal 
collection : 

The  M.irriage  of  the  Prince  of  AYales. 

The  IMarriage  of  the  Priuc-ess  Alice. 

Distribution  of  Crimean  Medals  by  the  Queen. 

THOMAS,  Jan,  born  at  Ypres,  in  Flanders, 
about  the  year  1610,  was  a  pupil  of  Rubens.  After 
passing  some  years  under  that  master,  he  travelled 
to  Italy  with  his  friend  and  fellow-student, 
Abraham  Diepenbeeck.  He  afterwards  passed  the 
greater  part  of  his  life  in  Germany.  The  Emperor 
Leopold  I.  appointed  him  his  principal  painter  in 


PAINTERS  AND  ENGRAVERS. 


1G62.  In  the  church  of  the  Barefooted  CarmeUtes, 
at  Antwerp,  there  is  an  altar-piece  by  Thomas, 
'  St.  Francis  Icneeling  before  tlie  Virgin  and  infant 
Christ.'  In  the  Vienna  Gallery  there  is  a  'Triumph 
of  Bacchus  ';  and  other  examples  are  to  be  seen  at 
Ypres.  He  has  left  a  few  spirited  etchings  ;  among 
them  the  following : 

A  Lady  at  her  Toilet,  holding  a  Portrait ;  J.  Thomas. 

inv.  et  fee. 
A  Shepherd  and  Shepherdess. 
A  Satyr  embracing  a  Shepherdess. 
A  Pastoral  Group,  three  Men  and  three  AVomeu,  one  of 

the  men  playing  on  the  Bagpipes. 

He  was  one  of  the  first  workers  in  mezzotint.  His 
plates  are  scarce  and  fetch  high  prices.  The 
following  may  be  named  : 

A  Female  at  a  window,  with  a  lantern  ;  after  G.  Dou. 

A  Lady,  supposed  to  bt  ar  some  resemblance  to  Christina 
of  Sweden,  attended  by  an  armed  Cupid. 

The  bust  of  a  Warrior  wearing  a  helmet,  and  holding 
a  lance  over  the  left  shoulder.  Motto,  Pro  Deo  et 
Patrii. 

Portrait  of  the  Emperor  Leopold. 

Portrait  of  Titian.  Inscribed :  Dato  in  luce  in  questa 
nuova  invenzione  in  Vienna  ii  30  Marzo  I'anno  1661. 
(Perhaps  his  masterpiece.) 

Diogenes  the  Philosopher. 
Thomas  died  at  Vienna  in  1672. 

THOMAS,  Jean  Baptiste,  painter,  born  in 
Paris  in  1791,  was  a  pupil  of  Vincent,  and  received 
the  '  Prix  de  Rome  '  in  1816.  He  exhibited  at  the 
Salon  between  1818  and  1832.  His  chief  works  are: 
'  Christ  clearing  the  Temple,'  in  the  church  of  St. 
Roch  in  Paris  ;  '  The  Procession  of  St.  Januarius  ; ' 
'The  Hermit  in  the  Storm.'  Under  the  title  of  'A 
Year  at  Rome'  he  published  seventy-two  plates  of 
Roman  costumes,  &c.     He  died  in  Paris  in  1834. 

THOMAS,  John,  a  very  clever  architectural 
draughtsman,  who  prepared  the  design  for  the 
great  fountain  at  tiie  National  Exhibition  of  1862. 
He  was  a  Gloucestershire  man,  born  in  1813,  and 
most  of  his  time  was  given  to  sculpture,  some 
reliefs  at  Euston  Station  and  the  great  lions  on  the 
Britannia  Bridge  being  examples  of  his  work  in 
that  direction.     He  died  in  1802. 

THOMAS,  Robert  Kent,  was  bom  in  London 
on  February  20,  1816.  He  was  the  son  of  Mr. 
Richard  Thomas,  printer,  Southwark,  and  was 
educated  at  the  Grammar  School  attached  to  St. 
Savioui-'s  Church  in  that  parish.  It  was  originally 
intended  that  he  should  be  brought  up  as  a  printer, 
with  a  view  to  his  ultimately  becoming  a  partner 
in  his  father's  business,  but  he  showed  such  natural 
talent  in  his  early  drawings  that  it  was  decided  he 
should  devote  his  time  to  art  studies.  His  earliest 
professional  occupation  was  that  of  a  lithographic 
draughtsman,  and  with  this  he  was  so  successful 
that  his  work  attracted  the  attention  of  the  cele- 
brated firm,  Messrs.  Day  and  Haghe  (subsequently 
Day  and  Sons),  then  producing  most  artistic  and 
costly  books.  They  thought  so  highly  of  his  abilities 
that  he  was  exclusively  engaged  by  them,  and 
rose,  while  in  their  employ,  to  be  the  head  of  the 
artistic  department,  which  position  he  continued 
to  enjoy  until  the  dissolution  of  the  firm.  His 
connection  with  Day  and  Sons  was  in  other  ways 
a  most  important  event  in  his  career,  for  while  he 
was  with  them  he  married  Miss  Mary  Day,  second 
daughter  of  the  head  of  the  firm.  After  the  sever- 
ance of  his  connection  with  Day  and  Sons,  Thomas 
turned  his  attention  to  etching  and  typographic 
etching,  of  which  somewhat  under-rated  form  of 
book  illustration  he  was  a  most  efficient  exponent. 


It  was,  however,  in  etching  proper  that  he  pro- 
duced his  most  memorable  and  valuable  work, 
and  from  1876  onwards  he  completed  a  succession 
of  excellent  plates,  many  of  which  appeared  in 
'The  Portfolio,"  then  edited  by  the  late  P.  G. 
Hamerton.  It  was  in  1876  that  a  series  of 
articles  on  St.  Alban's  appeared  in 'The  Portfolio'; 
the  smaller  illustrations  in  typo  etching,  together 
with  two  full-page  plates,  being  contributed  by 
R.  K.  Thomas.  The  smaller  drawings  are  wonder- 
fully crisp  and  fresh,  in  spite  of  the  difficulty  of 
producing  this  effect  on  the  thick  wax  ground 
used  in  the  process.  The  large  etching  of  '  St. 
Cuthbert's  Screen '  is  an  excellent  example  of  his 
work,  the  light  and  shade  being  indicated  with 
capital  effect,  and  much  solid  knowledge  of 
architecture  shown  in  the  bold  drawing  of  the 
Norman  arches. 

Other  etchings  followed,  and  in  1877  Thomas 
produced  a  delightful  plate  after  Stanfeld's  '  En- 
trance to  the  Zuyder  Zee,  Texel  Island,'  the  quality 
of  the  original  painting  being  interpreted  by  the 
etcher  in  a  fascinating  way.  After  this,  in  1879, 
R.  K.  Thomas  contributed  to  'The  Portfolio' 
several  etchings  of  Oxford,  including  a  view  of 
Merton  College,  and  another  of  Magdalen  Tower 
and  Bridge.  This  latter  is  exceptionally  good, 
the  drawing  being  of  great  grace  and  excellence. 
An  etching  of  the  Exchange,  Liverpool,  a  purely 
architectural  subject,  followed  in  1881,  and  the 
'  Hall  in  the  Wood,'  a  very  fine  drawing  of  a 
typical  old  Lancashire  manor-house,  and  an  etch- 
ing of  Stonyhurst  College,  also  appeared  in  the 
same  year.  Many  other  plates,  all  exhibiting  care 
and  skill,  were  published  in 'The  Portfolio' and 
other  periodicals,  and  on  the  establishment  of  the 
Society  of  Painter  Etchers,  Thomas,  by  invitation, 
became  one  of  the  original  members.  He  was 
also  a  member  of  the  Langham  Sketching  Club. 
From  time  to  time  the  artist  exhibited  paintings 
in  the  Royal  Academy  and  other  Exhibitions,  but 
the  most  artistic  and  elegant  phase  of  his  art  was, 
unfortunately,  one  which  never  gained  for  him 
any  public  recognition.  He  made  thousands  of 
pencil  sketches  at  home  and  abroail  which,  for 
delicacy  of  touch,  brilliancy  of  light  and  shade, 
and  accuracy  and  truth,  are  most  remarkable. 
Referring  to  these  in  his  work  on  Landscape  (in 
which  volume  a  reproduction  of  one  of  Thomas' 
pencil  sketches  appears),  IMr.  P.  G.  Hamerton 
says  :  "  After  his  lamented  death  I  was  permitted 
to  see  some  of  his  sketch-books,  and  found  much 
to  interest  me,  with  absolute  proof  of  his  truthful 
way  of  seeing  things  in  his  sketches  of  scenes  well 
known  to  me.  He  was  an  excellent  representative 
of  the  class  of  artists  who,  without  imaginative  iu- 
vention,  see  clearly,  and  interpret  rapidly  and  skil- 
fully what  they  see.  This  sketch  was  done  simply 
for  the  artist  himself  as  a  private  memorandum." 
After  a  quiet  and  useful  life,  dignified  by  his 
attachment  to  all  that  was  pure  and  sane  in  the 
art  he  practised,  R.  K.  Thomas  died  on  April  12, 
1884,  loved  by  his  friends,  and  respected  by  all 
who  knew  him  as  a  man  of  probity  and  a  refined 
and  truthful  artist.  j,  e. 

THOMAS,  William  Ldson,  painter  and  engraver, 
was  born  on  December  4,  1830.  At  an  early  age 
he  developed  artistic  tastes,  and  joined  his  elder 
brother,  George  Thomas,  who  was  working  as  a 
successful  engraver  in  Paris.  The  two  brothers 
went  to  New  York,  and  helped  to  start  three  illus- 
trated papers,  which  all  failed  to  succeed.    They 

171 


A  BIOGRAPHICAL  DICTIONARY  OF 


flien  studied  together  at  Rome,  and  from  there 
W.  L.  Thomas  returned  to  London,  where  he 
practised  engraving  under  W.  J.  Linton,  and 
finally  started  a  business  of  his  own.  Aided  by 
a  large  staff,  he  supplied  engraved  illustrations 
for  many  books  and  also  for  'The  Illustrated 
London  News.'  In  December  1869  he  launched 
'  The  Graphic,'  and  owing  largely  to  the  oppor- 
tunity given  by  the  Franco-German  war,  the 
paper  won  immediate  success.  His  idea  was  to 
establish  "  a  weekly  illustrated  journal  open  to 
all  artists  whatever  their  method,"  instead  of  con- 
fining his  staff,  as  was  then  customary,  to  draughts- 
men on  wood.  He  collected  round  him  a  brilliant 
staff,  among  whom  were  G.  Pinwell,  Fred  Walker, 
Professor  von  Herkomer,  Luke  Fildes,  R.  W. 
Macbeth,  and  E.  J.  Gregorj'.  Twenty  years  later 
he  founded  '  The  Daily  Graphic,'  giving  London 
its  first  illustrated  daily  paper.  He  was  an  excel- 
lent landscape  painter,  and  was  elected  a  member 
of  the  Royal  Institute  in  1875.  He  exhibited  at 
the  Exliibitions  of  the  society  173  pictures  in  all, 
but  in  his  later  years  painted  very  little.  He  was 
also  a  member  of  the  Institute  of  Painters  in  Oil- 
Colours.  In  185-1  he  married  Annie,  daughter  of 
J.  W.  Carmichael,  the  marine  painter.  He  was 
keenly  interested  in  music  as  well  as  painting,  and 
was  an  active  member  of  various  philanthropic 
societies.     He  died  on  October  16,  1900.     y  H 

THOMASSIN,  Henri  Simon,  the  son  of  Simon 

Thomassiu,  born  in   Paris  in   1688,  was  trained 

by  his  father.     After   a   two  years'   residence  at 

Amsterdam  he  returned  to  Paris,  and  was  received 

into  the  Academy  in  1728.    His  plates  are  executed 

with  more  freedom  than  those  of  his  father,  and  he 

made  more  use   of  the  point.     He  died  in  Paris 

in  1741.     We  have,  among  others,  the  following 

prints  by  him : 

Louis  XIV.,  presented  to  the  Arts  by  Minerva ;  after 

L.  de  Boullongne  ;  engraved  for  his  reception  into  the 

Academy.     II'IQ. 

Louis,  Dauphin  of  France  ;  after  Tocqne. 

The  Bust  of  Cardinal  de  Fleury,  supported  by  Diogenes  • 

after  Ji'if/aitd,  ' 

Jean   Thierry,  Sculptor  to  the  King;  after  N.  Lar- 

gilliire. 
Carlo  Cignani,  Painter  ;  after  a  portrait  ly  himself. 
Christ  with  the  Disciples  at  Emmaus ;  ajier  P.  Vero- 
nese ;  for  the  '  Collection  Crozat.' 
Adam  and  Eve  driven  from  Paradise;  after  D.  Feti : 

for  the  same. 
Melancholy  ;  after  the  same;  for  the  same. 
The  Magnificat,  or  Song  of  the  Virgin  ;  after  Jouvenet. 
Coriolanus  and  his  Family ;  after  La  Fosse. 
The  Plague  at  Marseilles  ;  after  J.  F.  de  Troy. 
THOMASSIN,  Philippe,  a  French  engraver,  was 
born  at  Troyes  about  the  year  1660.     He  went  to 
Rome  when  he  was  young,  and  resided  there  for 
.the  greater  part  of  his  life.     According  to  Huber, 
he  was  a  pupil  of  Cornelius  Cort,  whose  style  he 
followed  with  considerable  success.     He  worked 
entirely  with  the  burin.     His  plates  are  numerous, 
amounting  to  upwards  of  two  hundred,  of  which 
about  fifty  are  from  antique  statues  in  Rome.     In 
1600    he   published    a   '  Recueil   de   portraits   des 
Souverains   et   des  Capitaines   les   plus   illustres,' 
with  notices  in  Latin.     Callot  and  Nicolas  Cochin 
were  his  pupils.     He  died  at  Rome,  very  old,  about 
1649.     The  following  are,  perhaps,  his  best  plates  : 
The  Portrait  of  the  Due  de  Mercceur. 
'Christ  and  the  Apostles;'  after  Raphael    A  set  of 

fourteen  plates. 
St.  Margaret ;  after  the  same. 
St.  Cecilia  ;  aft\r  the  same. 
The  School  of  Athens ;  after  the  same 
172 


The  Dispute  of  the  Sacrament ;  after  the  same 

Tne  Battle  of  Ostia ;  after  the  same. 

The  Incendio  del  Borgo  ;  after  the  same. 

The  Holy  Family  ;  after  Federigo  Zuccaro. 

The  Adoration  of  the  Magi ;  after  the  same 

The  Miracle  at  the   Marriage  of   Cana;  after  Taddeo 

Zuccaro. 
Tlw  Nativity  ;  after  Ventura  Salimhem. 
The  Purification  of  the  Virgin  ;  after  F.  Barocci 
The  Last  Judgment ;  after  F.  Vanni. 
Apollo  and  tlie  Muses ;  after  Bal.  Peruzzi ;  a  frieze 
Christ  before  the  Sanhedrim;   inscribed,  Ph   Thomas- 
snms  sc.  et  exc.,  Roma,  1649.     (Probably  his  last  plate.) 
THOMASSIN,  Simon,  nephew  of  Philippe  Tho- 
raassin,  was  born  at  Troyes  about  1652.   After  being 
instructed  in  the  rudiments  of  design  at  Paris,  under 
Btienne  Picart,  he  went  to  Rome,  and  studied  for 
some  time   in   the   French   Academy   there.     He 
then  devoted  himself  to  engraving.     His  plates  are 
executed  entirely  with  the  burin,  in  a  neat,  clear 
style,  but  without  much  intelligence  in  the  matter 
of  chiaroscuro.     He  was  a  member  of  the  Paris 
Academy,  and  was  one  of  the  engravers  to  the  king. 
His  most  considerable  work  was  a  folio  volume  of 
plates  from  the  statues  and  other  marbles  in  the 
palace  and  garden  of  Versailles  ;  it  was  published 
in  Pans  in  1694,  and  republished  at  the  Hague  in 
1723.     We  have  also,  among  others,  the  follo\ving 
independent  prints  b}'  him  : 
Louis  SIV. 

Louis,  Duke  of  Burgundy.     1698. 
Marie  Adelaide  of  Savoy,  Duchess  of  Burgundy. 
Paul  Beauvillier,  Due  de  St.  Aignan.     1695. 
The  Due  de  Maine. 
Charles  XII.  of  Sweden. 
Pierre  Corneille  ;  after  Le  Brtin. 
The  Miraculous  Draught  of  Fishes ;  after  Raphael. 
The  Transfiguration  ;  after  the  same. 
St.  Paul  taken  up  into  the  third  Heaven;  after  ?,'. 

Poussin. 
Christ  praying  on  the  Mount ;  after  Le  Brun. 
St.  Benedict ;  after  Ph.  de  Champagne. 
Christ  disputmg  with  the  Doctors ;  after  Lesueur. 
St.  Ambrose  and  the  Emperor  Theodore ;   after  Bon 

Boullongne. 
St.  Scholastica ;  after  Jouvenet. 

He  died  in  Paris  in  1732. 

THOME,  LucA,  a  Sienese  artist  of  the  14th  cen- 
tury, probably  a  pupil  of  Siinone  Martini,  and  the 
companion  of  Barna  and  Lippo  Memmi.  His  name 
is  the  third  on  the  register  of  the  Compagnia  di 
S.  Luca  for  1355,  when  that  guild  was  finally 
established.  He  and  Christoforo  di  Stefano  re- 
stored in  1357  a  '  Madonna  '  which  bad  been  painted 
above  the  portal  of  the  Duomo  of  Siena  in  1333  by 
Pietro  Lorenzetti.  In  1373  he  painted,  by  order 
of  the  general  council,  an  altar-piece  in  honour  of 
St  Paul,  to  celebrate  the  Sienese  victory  over  the 
Cappellucci.  He  was  himself  a  member  of  the 
council  for  the  Duomo  in  1388  and  1389.  He  is 
known  to  have  painted  about  this  time  some  frescoes 
in  the  church  of  S.  Domenico,  at  Arezzo,  but  they 
have  wholly  disappeared.  In  1389  he  assisted  Bar- 
tolo  di  Maestro  Fredi  and  his  son  Andrea  in  an 
altar-piece  for  the  chapel  of  the  Shoemakers'  Guild 
in  the  Siena  Duomo.  Delia  Valle  mentions  a 
'  Madonna '  painted  by  him  in  1392,  for  the  church 
of  S.  Francesco  in  Sien  a.  The  date  of  Luca  Thome's 
death  is  uncertain.     Works  : 

Castello  S.   »      r^,.,.,.  (  Virgin  .and  Child  with  St.  Anne. 

Quirico.    i      t-€rtosa.|      (1367.) 
Pisa.  Gallery.    The  Crucifixion.     (1360.) 

THOMPSON,  A.  Wordsworth,  American  painter; 
born  May  26,  1840,  at  Baltimore  ;  studied  in  Paris 
with  Glcyre,  Larabinet,  and  Alberto  Pasini.    After 


PAINTERS  AND  ENGRAVERS. 


travel  and  work  in  Algeria,  Morocco,  and  Spain, 
he  returned  to  New  York,  where  as  a  painter  of 
military  subjects  he  became  well  known.  His 
'  News  from  the  Front,'  'Outpost,'  and  'Washington 
reviewing  the  Troops,  1777,'  are  among  his  best 
pictures.  He  obtained  a  third-class  medal  in 
Paris  in  1889,  and  died  in  New  York  in  1896. 

THOMPSON,  Charles,  an  English  wood  en- 
graver, born  in  London  in  1791.  He  was  the 
brother  of  John  Thompson,  and  studied  under 
Bewick  and  Branston.  In  1816  he  settled  in  Paris, 
where  he  obtained  a  large  practice,  and  was  held 
in  high  repute,  receiving  a  gold  medal  in  1824. 
He  introduced  the  practice  of  engraving  on  the  end 
of  the  wood,  on  a  section  across  the  grain,  into 
France.  He  died  at  Bourg-la-Reine  in  1843,  and 
his  widow  was  granted  a  pension  by  the  French 
government.  Specimens  of  his  work  are  to  be 
found  in : 

*  L'Histoire  de  Tancien  efc  du  nouveau  Testament.*   1335. 

'  Fables  de  La  Fontaine.'     1836. 

Thierry's  '  Conquete  de  I'Angleterre.'    1S41. 

'  Corinne.'     1841. 

THOMPSON,  Charles,  an  English  engraver, 
who  practised  in  London  early  in  the  19th  century. 
He  engraved  the  illustrations  for  '  Mdea  Althorp- 
ianaa,'  in  1822,  and  several  plates  for  almanacs. 

THOMPSON,  Charles  Thurstan,  was  the  son 
of  John  Thompson  the  wood-engraver,  and  was 
born  in  Peckham  in  1816.  He  was  well  employed 
as  an  illustrator  of  books,  and  did  much  excellent 
work  for  tlie  publications  of  Messrs.  Longman  and 
Messrs.  Van  Voorst.  He  took  an  important  part  in 
the  arrangements  for  the  exhibition  of  1851.  He 
became  much  interested  in  the  newly-invented  art 
of  photography,  and  was  appointed  by  the  Exhibition 
Commissioners  to  superintend  their  photographic 
printing  at  Versailles  in  1852,  after  which  time  he 
devoted  himself  to  photography.  He  was  employed 
by  the  Science  and  Art  Department  to  photograph 
objects  of  interest  in  Paris,  Spain,  and  Portugal,  and 
his  health  giving  way  while  on  his  travels  for  this 
purpose,  he  returned  to  Paris,  and  died  there,  after 
a  short  illness,  January  22,  1868. 

THOMPSON,  E.  W.,  an  English  portrait  painter, 
born  in  1770.  He  chiefly  lived  in  Paris,  where  he 
enjoyed  a  good  practice.  His  works  were  only 
exhibited  on  a  few  occasions  at  the  Royal  Academy 
between  1832  and  1839.  He  was  engaged  on 
Walmsley's  '  Physiognomical  Portraits,'  .published 
in  1822-4.     He  died  at  Lincoln  in  1847. 

THOMPSON,  Jacob,  a  clever  landscape  painter, 
bom  at  Penrith  in  1806.  He  was  patronized  by 
the  Earl  of  Lonsdale,  and  by  other  members  of  the 
Lowther  family,  who,  finding  him  apprenticed  to 
a  house  painter,  and  with  a  considerable  know- 
ledge of  portraiture,  sent  him  to  London  in  1829 
to  Sir  Thomas  Lawrence,  who  introduced  him  to 
the  Royal  Academy  Schools,  and  gave  him  op- 
portunities for  studying  classical  art.  He  ex- 
hibited a  great  many  times  at  the  Royal  Academy, 
but  his  work  was  always  somewhat  hard  and 
formal,  especially  in  his  subject  pictures.  His 
best  productions  were  landscapes  of  Cumberland 
or  Westmorland,  especially  of  his  own  country, 
for  the  scenery  of  which  he  had  a  peculiar  affection. 
He  possessed  some  small  means  of  his  own,  and 
was  a  very  abstemious  and  retiring  man.  He  was 
a  member  of  the  Society  of  Friends,  and  in  his  own 
place  very  influential,  but  hardly  known  outside 
the  limits  of  that  Society.  He  spent  little  time  in 
London,  quickly  returning  to  Cumberland,  where 


he  lived  quietly  for  nearly  forty  years,  and  died  in 
1879.     Llewellyn  Jewitt  wrote  his  Life  in  1882. 

THOMPSON,  James,  bom  at  Mitford,in  Northum- 
berland, about  1790,  was  the  son  of  a  clergyman. 
He  was  apprenticed  to  an  engraver  in  London,  and 
at  the  close  of  his  apprenticeship  worked  with  his 
master  for  two  years,  at  the  end  of  which  he  set  up 
for  himself,  and  became  well  known  by  the  follow- 
ing plates  : 

The  three  nieces  of  the  Duke  of  'Wellington ;   after 

Lawrence. 
The  Queen  on  Horseback ;  after  Sir  F.  Grant. 
Prince  Albert ;  after  Sir  TV.  Soss. 
The  Bishop  of  Loudon  ;  after  G.  Kickmond. 

He  also  engraved  several  plates  for  '  Lodge's 
Portraits,'  and  the  '  Townley  Marbles.'  He  died 
in  London,  September  27,  1850. 

THOMPSON,  James  Robert,  an  English 
draughtsman,  lived  in  the  early  part  of  the  19th 
century.  He  worked  chiefly  on  architectural  sub- 
jects, and  made  many  drawings  for  Britton's  public- 
ations. His  name  occasionally  appears  in  the  cata- 
logues of  the  Royal  Academy  between  1808  and 
1843.  Among  his  contributions  were  five  scenes  of 
Elephant-hunting  in  Ceylon,  a  '  Design  for  a  Temple 
of  Peace,'  and  designs  for  the  new  London  Bridge. 
There  is  a  water-colour  drawing  by  him  in  the 
South  Kensington  Museum,  of  the  West  Gate  and 
Bridge,  Gloucester. 

THOMPSON,  John,  an  English  portrait  painter, 
who  practised  in  London  from  1590  to  1610.  He 
enjoyed  the  dignity  of  City  Painter,  and  was 
a  member  of  the  Painters'  Company,  in  whose  hall 
hang  several  portraits  by  him,  including  his  own. 

THOMPSON,  John,  an  eminent  wood-engraver, 
was  born  at  Manchester,  May  25,  1785  ;  he  was  a 
pupil  of  the  elder  Branston,  but  was  more  influenced 
by  his  intimate  subsequent  connection  with  John 
Thurston,  more  than  900  of  whose  designs  he  en- 
graved for  the  Chiswick  Press.  He  was  also  at 
one  time  employed  by  the  Bank  of  England,  and 
engraved  Mulready's  design  for  the  old  penny 
postage  envelope,  and  the  figure  of  Britannia 
which  is  still  used  for  the  bank-notes.  From  1852 
to  1859  he  was  director  of  the  female  school  of  en- 
graving at  South  Kensington.  In  1855  he  won 
a  medaille  d'honneur  at  the  Paris  Exhibition. 
He  was  an  assiduous  student  of  the  theory  of  his 
art,  and  of  the  works  of  such  masters  as  Dtirer, 
Callot,  Rembrandt,  Bartolozzi,  and  Goltzius.  He 
retained  his  full  powers  to  the  end  of  his  life,  and 
his  last  engraving,  the  '  Death  of  Dundee,'  after  Sir 
Noel  Paton,  is  a  vigorous  and  yet  delicate  example 
of  his  powers.  He  died  at  Kensington,  February 
20, 1866.  Among  other  works,  he  made  engravings 
for  the  following  : 

'  The  London  Theatre.'     1814— ISIS. 

Fairfax's  Tasso. 

Butler's  '  Hiidibras.'     ISIS. 

'  The  Blind  Beggar's  Daughter  o£  Bethnal  Green.'  1832. 

Gray's  '  Elegy.'    1832. 

Shakespeare.     1836. 

<  The  Arabian  Nights.'     1S41. 

'  The  Vicar  of  Wakefield  ; '  after  Mulready.     1843. 

He  made  many  of  the  engravings  for  Yarrell'a 
works  on  Natural  History,  and  for  many  works 
published  iu  France. 

THOJIPSON,  R.     See  Tompson. 

•THOMPSON,  Thomas  Clement,  an  Irish  portrait 
painter,  was  born  about  1780.  He  at  first  practised 
in  Dublin,  but  in  1818  he  migrated  to  London, 
where  he  exhibited  at  the  Royal  Academy,  at  the 
British  Institution,  and  at  the  Society  of  British 

173 


A   BIOGRAPHICAL  DICTIONARY  OF 


Artists,  from  1816  to  1857.  Working  Btrenuously 
for  the  establishment  of  an  Academy  for  Ireland, 
he  became  one  of  the  origioal  members  of  the 
Hibernian  Academy  in  1823,  There  is  a  portrait 
by  liim  in  the  Kensington  Museum,  and  one  of 
Archbishop  Troy  in  the  Irish  National  Gallery. 
Thompson  ceased  to  exliibit  in  1858. 

THOMPSON,  William,  (called '  Blarney  Thomp- 
son,') a  native  of  Dublin,  who  practised  portrait 
painting  in  London,  where  his  name  appears  in 
catalogues  from  1761  to  1777.  He  exhibited  with 
the  Society  of  Artists,  chiefly  half-length  portraits. 
He  was  good  at  a  likeness,  but  his  art  was  poor. 
He  was  twice  married,  each  time  to  a  woman  of  for- 
tune, and  forsook  his  profession.  He  fell,  however, 
into  debt,  was  imprisoned  in  the  King's  Bench,  and 
attracted  some  notice  by  his  noisy  protests  against 
his  imprisonment.  He  made  one  of  the  notorious 
circle  at  Mrs.  Cornely's,  in  Soho  Square,  and  was 
also  for  a  time  secretary  to  the  Incorporated  So- 
ciety of  Artists.  He  published  '  An  Enquiry  into 
the  Elementary  Principles  of  Beauty  in  the  works 
of  Nature  and  Art'  He  died  suddenly  in  London 
in  1800. 

THOilPSON,  William  John,  portrait  painter, 
was  born  at  Savannah,  in  1771.  On  the  outbreak 
of  the  War  of  Independence  his  parents  moved  with 
him  to  England,  where  he  painted  portraits  for  a 
living  at  a  very  early  age.  He  practised  at  first  in 
London,  wherein  1808  he  became  a  member  of  the 
Associated  Artists  in  Water-Colours.  Settling  in 
Edinburgh  in  1812,  he  gained  a  considerable  reput- 
ation, and  was  elected  a  member  of  the  Royal 
Scottish  Academy  in  1829.  He  died  in  Edinburgh. 
March  24,  1845. 

THOMSON,  Henry,  an  English  historical  and 
poetical  painter,  and  the  son  of  a  purser  in  the 
navy,  was  born  in  London,  July  31,  1773.  He 
lived  for  a  time  with  his  father  in  Paris,  and  on  tiie 
outbreak  of  the  French  Revolution,  returned  to 
London,  becoming  a  pupil  of  Opie,  and,  in  1790,  a 
student  in  the  Academy  schools.  He  completed 
his  art  education  by  travels  in  Italy  and  Germany. 
He  contributed  a  '  Perdita,'and  some  subjects  from 
'  The  Tempest,'  to  Boydell's  Shakespeare  Gallery. 
He  first  exhibited  at  the  Academy  in  1800,  and  the 
following  year  was  elected  an  A.  R.  A.  He  became 
an  Academician  in  1804,  and  in  1825  was  appointed 
keeper  of  the  Royal  Academy.  In  1828,  owing  to 
failing  health,  he  retired  to  Portsea,  where  he 
amused  himself  with  boating,  and  with  making 
sketches  of  marine  objects,  which  he  presented  to 
his  friends.  He  died  on  the  6th  of  April,  1843. 
His  '  Prospero  and  Miranda'  is  in  the  Diploma 
Gallery  at  Burlington  House. 

THOMSON,  James,  a  celebrated  stipple  en- 
graver, whose  work  was  almost  exclusively  in  por- 
traiture. He  was  born,  it  is  said,  in  1787,  in 
Northumberland,  and  died  in  London  in  1850. 
Some  of  his  best-known  engravings  are  the  por- 
traits of  Blomfield,  Bishop  of  London,  Prince 
Albert,  and  Louis  Philippe;  he  had  also  a  good 
deal  to  do  with  illustrating  Lodge's  '  Portraits  of 
Illustrious  Personages.'  He  was  at  one  time  a 
pupil  of  Cardon,  but  estabUshed  a  method  of  his 
own  in  stipple  work,  by  which  he  was  able  to 
execute  his  portraits  with  great  rapidity. 

THOMSON,  John,  'Thomson  of  Duddingston,' 
a  Scotch  landscape  painter,  was  born  at  Dailly, 
Ayrshire,  in  1778.  His  father  was  the  Presbyterian 
minister  of  Daill}',  and  he  succeeded  him  in  that 
office  in  1800.     But  Thomson  had  a  great  likiug  for 

174 


art,  and  his  early  efforts  in  landscape  were  much 
aided  by  Alexander  Nasmyth.  In  1805  he  re- 
moved to  the  parochial  cure  of  Duddingston,  near 
Edinburgh,  and  soon  became  intimate  with  the 
most  distinguished  members  of  contemporary 
society  in  the  Scotch  capital.  He  first  exhibited 
in  1808  with  the  Associated  Artists,  and  between 
that  year  and  1840,  contributed  a  total  of  109 
landscapes  to  the  Scotch  exhibitions.  He  con- 
sidered himself  an  amateur,  and  as  his  clerical 
profession  rendered  him  unwilUng  to  become  a  full 
member  of  any  artistic  association,  he  was  elected 
an  honorary  member  of  the  Scottish  Academy.  In 
his  choice  of  subjects  and  in  their  treatment  he 
was  influenced  mainly  by  Claude  and  the  Poussins. 
He  died  at  Duddingston,  October  20th,  1840. 
Among  his  works  are  : 

Edinburgh.     Kat.  Gallery.    Eruce's  Castle  af  Turnberry. 
)>  „  Landscape  Composition. 

.?  „  Eiivensheugh  Castle. 

,1  „  Scene  on  the  Clyde. 

,>  „  The  Trossacbs. 

»  .,  Aberlady  Bay.     1822. 

i>  „  Trees  on  the  bank  of  a  stream. 

London.  ,,  Loch  an  Eilan.     1835. 

„  S.  Kensington.    Duddingston   Loch    (water- 

colour). 
THOMSON,  John  Knighton,  an  English  painter, 
was  born  about  1820.  From  1849  to  shortly  before 
his  death  he  was  a  constant  exhibitor  at  the 
Academy,  and  with  the  Society  of  British  Artists. 
He  also  exhibited  at  the  British  Institution.  His 
'  First  Easter  Dawn '  has  been  engraved.  He  died 
in  1888. 

THOMSON,  Baton,  an  English  engraver,  born 
about  the  middle  of  the  18th  century.     He  worked 
in  London,  and  was  much  engaged  on  portraits 
of  actors  in  character.     His  death  occurred  after 
1821.     Amongst  his  plates  are: 
Portrait  of  E.  Jerningham.     1794. 
'John  Anderson  my  Jo';  after  J).  Allan.     1799. 
Charles  Kemble  as  Romeo.     1819. 
Charles  Kemble  as  Viucentio.     1821. 
Edmund  Koan  as  Coriolanus.     1820. 

THON,  Sixths  Aenim,  German  painter  and 
engraver;  born  November  10,  1817,  at  Eisenach  ; 
studied  at  the  Leipzig  Academy  in  1837,  and  also 
became  a  pupil  of  Preller  at  Weimar,  with  whom 
he  visited  Ruegeu  ;  travelled  for  purposes  of  study 
in  Norway,  Holland,  and  Belgium,  and  resided  at 
Antwerp.  Became  professor  at  Weimar ;  painted 
genre  and  portraits  ;  worked  also  as  an  illustrator 
and  etcher,  besides  executing  sundry  lithographs. 
His  '  Sleeping  Youth'  is  in  the Christiania Gallery. 
He  died  in  1879. 

THONERT,  MEDARDns,  engraver,  born  at  Leip- 
sic  in  1764,  was  a  pupil  of  Bause  and  Geyser. 
He  engraved  historical  plates  and  vignettes,  some 
after  his  own  drawings,  and  others  after  those  of 
Graff,  G.  F.  Schmidt,  Oeser,  &c.     He  died  in  1812. 

TUONING,  Christian  Friedrich,  painter  and 
lithographer,  was  born  at  Eckernforde  in  1802. 
He  studied  at  the  Academy  of  Copenhagen,  at 
Munich,  and  finally  in  Rome,  where  he  settled. 
He  painted  principally  marine  views,  with  figures, 
introducing  varied  effects  of  sunlight.  He  litho- 
graphed two  landscapes  after  Cuyp  and  Back- 
liuisen,  and  several  views  of  Swiss  scenery  after  his 
own  drawings.     He  died  at  Naples  in  1873. 

THORBURN,  Robert,  was  born  at  Dumfries 
in  1818.  Early  manifesting  artistic  tastes,  he  was 
sent  to  Edinburgh  at  the  age  of  fifteen  and 
entered  the  Academy  School,  where  he  soon  dis- 


PAINTERS  AND  ENGEAVERS. 


tinguished  himself.  In  1836  he  went  to  London 
and  studied  at  the  Royal  Academy,  exhibiting  for 
the  first  time  at  its  Exhibition  in  1837.  He  devoted 
himself  to  portrait  painting  in  miniature,  and 
exhibited  regularly  at  the  Royal  Academy.  His 
skill  in  his  chosen  medium  was  soon  recognized, 
and  he  attained  a  wide  popularity  for  his  success 
in  catching  a  likeness  no  less  than  for  his  careful 
painting  of  accessories.  In  1846  he  painted  a 
miniature  of  the  Queen,  and  the  rank  and  fashion 
of  the  day  sat  to  him.  He  was  elected  an  Associ- 
ate of  the  Royal  Academy  in  1848,  and  in  1855 
■was  awarded  a  first-class  medal  at  the  Paris 
Exhibition.  When  miniature  work  went  out  of 
fashion  he  reverted  to  oil-painting,  but  it  is  as  a 
miniaturist  that  he  will  be  remembered.  His 
miniatures  are  generally  large,  often  with  landscape 
backgrounds,  and  finished  with  extreme  care.  His 
best  works  include  portraits  of  the  Duchess  of 
Manchester,  the  Duchess  of  Buccleuch  and  family, 
the  Marchioness  of  Waterford,  &c.  He  died  at 
Tunbridge  Wells,  November  2,  1885,  having  quite 
outlived  his  reputation.  j_  jj,  \f_  l_ 

THOREN,  Otto  vuN,  German  painter;  born  "at 
Vienna  in  1828  ;  studied  at  Brussels  and  Paris 
after  taking  part  in  the  Hungarian  campaign  of 
1848-49.  In  1865  he  settled  at  Vienna,  but 
afterwards  made  Paris  his  home.  He  painted  an 
equestrian  portrait  of  the  Emperor  of  Austria,  and 
his  pictures  of  animal  life  served  to  heighten  his 
reputation.  He  obtained  the  Munich  gold  medal, 
the  Vladimir  Order,  the  Franz-Joseph  Order,  and 
a  third-class  medal  (Paris)  in  1864.  He  died  in 
Paris,  July  15,  1889. 

THORIGNY,  FiLix,  draughtsman,  born  at  Caen 
in  1824,  was  much  employed  on  illustrations  for 
the  following  periodicals:  le  Monde  Illustre;  le 
Magasin  Pittoresqite ;  le  Music  des  Families; 
The  Illustrated  London  News ;  le  Calvados  Pit- 
toresme.     He  died  suddenly  in  Paris  in  1870. 

THORNER,  Benno,  painter,  born  at  Dresden  in 
1802,  and  studied  under  Vogel  von  Vogelstein. 
He  afterwards  went  to  Rome,  where  he  settled. 
He  painted  chiefly  romantic  genre  pictures,  many 
of  which  were  engraved.  Among  them  we  may 
name : 


The  Falconer. 
The  Lute  Player. 
The  Sick  Nun. 


Nymphs  in  the  Bath. 
The  Eetum  of  the  Knight. 


He  died  at  Rome  in  1858. 

THORNHILL,  Sir  James,  painter,  the  son  of  a 
gentleman  of  old  family  in  Derbyshire,  was  born 
at  Melcombe  Regis,  in  1676.  His  father  having 
been  reduced  to  poverty,  the  son  was  obliged  to 
look  out  for  a  profession  for  support.  He  had 
conceived  an  early  inclination  for  painting,  and 
came  to  London,  where  his  uncle,  Sydenham,  a 
well-known  physician,  placed  him  under  the  tuition 
of  Thomas  Highmore.  He  had  acquired  consider- 
able fame  as  a  painter,  when  he  started  on  an 
expedition  through  Holland,  Flanders,  and  France. 
On  his  return  to  England,  he  was  appointed  by  Queen 
Anne  to  paint  the  cupola  of  St.  Paul's  Cathedral, 
which  he  decorated  with  eight  scenes  from  the 
history  of  the  apostle.  These  have  been  engraved 
in  as  many  plates,  by  Du  Bosc,  Beauvais,  Baron, 
6.  Van  der  Gucht,  and  Simoneau.  He  was  after- 
wards employed  in  painting  an  apartment  at 
Hampton  Court  with  some  emblematical  subjects, 
relating  to  the  histories  of  Queen  Anne  and  her 
consort.  Prince  George  of  Denmark.  He  was  also 
employed  on  the  decorative  paintings  at  Greenwich 


Hospital,  in  the  great  hall  at  Blenheim  Palace,  on 
the  saloon  and  hall  at  Moor  Park,  on  the  hall  and 
staircase  at  Easton  Neston,  and  on  the  chapel  at 
Wimpole.  He  also  painted  altar-pieces  for  All 
Souls'  and  Queen's  Colleges,  at  Oxford.  These 
considerable  -works  were  very  ill  paid,  and  he 
found  it  difficult  to  obtain  the  stipulated  prices. 
His  demands  were  contested  for  his  paintings  at 
Greenwich ;  and  though  La  Fosse,  the  French 
painter,  received  two  thousand  pounds  for  his 
work  at  Montague  House,  and  five  hundred 
pounds  more  for  his  support,  Thomhill  could 
obtain  only  forty  shillings  a  square  yard  for  the 
cupola  of  St.  Paul's,  and  the  same  for  Greenwich. 
Sir  James  copied  Raphael's  cartoons,  then  at 
Hampton  Court,  being  employed  three  years  on 
the  work.  At  the  sale  of  his  pictures  after  his 
death,  these  copies  were  purchased  by  the  then 
Duke  of  Bedford,  and  were  placed  in  a  gallery 
in  Bedford  House,  Bloomsbury.  When  Bedford 
House  was  taken  down,  the  Duke  presented  them 
to  the  Royal  Academ^^ 

Sir  James  Thornhill  was  honoured  with  the 
particular  patronage  of  George  I.,  by  whom  he 
was  knighted,  and  was  elected  to  represent  his 
native  town  in  parliament.  He  died  at  Weymouth 
in  1734,  leaving  a  son,  John  (q.v.),  and  a  daughter, 
who  was  married  to  William  Hogarth.  Thornhill 
has  left  a  few  slight  etchings  ;  among  them  an 
'  Adam  and  Eve.' 

THORNHILL,  John,  the  only  son  of  Sir  James 
Thornhill,  painted  landscapes  and  marine  pieces. 
He  succeeded  his  father  as  Sergeant-Painter  to 
George  II.,  but  resigned  the  oflSce  in  1757. 

THORNTHWAITE,  J.  an  English  engraver,  born 
about  1740,  in  London,  where  he  practised  from 
1771  to  1794.  Specimens  of  his  work  will  be  found 
in  '  Bell's  Shakespeare,'  and  in  the  '  Booksellers' 
British  Theatre,'  and  a  portrait  by  him  of  Dr. 
William  Hunter,  founder  of  the  Hunterian  Museum, 
Glasgow,  is  extant. 

THOURET,  Nikolas  Friedrich,  a  German  archi- 
tect, born  at  Ludwigsburg  in  1767,  also  practised 
painting,  which  he  had  studied  in  Rome.  His 
pictorial  works  were  chiefly  drawings  in  water- 
colour  or  ink,  of  historical  and  mythological 
subjects.  He  died  at  Stuttgart  in  1845.  His  son 
Paul,  born  1814,  was  a  successful  scene-painter 
and  decorator.     He  died  in  1874. 

THOUKNEYSER,  Johann  Jakob,  (Thourneis- 
SEN,)  engraver,  was  born  at  Basle  in  1636,  and 
received  his  first  instruction  in  engraving  at  Stras- 
burg,  from  Pieter  Aubry.  He  afterwards  visited 
France,  where  he  engraved  several  plates  in  a  style 
resembling  that  of  F.  de  Poilly.  Some  of  his  prints 
are  executed  with  a  single  line,  in  the  manner 
of  Claude  Mellan.  He  worked  at  Lyons  and  at 
Bourg-en-Bresse,  and  afterwards  at  the  court  of 
Turin.  We  have  several  portraits  by  Thourneyser, 
chiefly  Swigs,  as  well  as  that  of  Louis  XIV.  when 
young,  supported  by  Minerva  and  Apollo.  He 
also  engraved  a  variety  of  frontispieces  and  other 
plates  for  books,  and  executed  part  of  a  set  of 
prints  published  by  Catherine  Patin,  in  1691,  from 
select  pictures.  He  usually  marked  his  plates 
with  a  cipher  composed   of   an  H.  for  Hans  or 

John,  and  a  T.,  thus,    JJ.     He  died  at  Basle  in 

1718.     His  chief  plates  were  the  following: 

Joseph  I. ;  after  Isaac  Fischer,  jun. 

Joseph  I.  ;  after  Schoonjans. 

Fred.  Augustus  of  Poland ;  after  the  same. 

175 


A  BIOGRAPHICAL  DICTIONARY  OF 


S.  Francis  Xavier ;  after  the  same. 

Ignatius  Loyola  ;  after  the  same. 

Tobit  and  the  Angel ;  after  Titian. 

Holy  Family  ;  after  Sprancjher. 

The  Elector  Frederick  of  Brandenburg  promising  pro- 
tection to  French  Huguenot  Refugees  ;  after  Brand- 
muller. 

Laocoon ;  after  the  antique  group. 

His  son,  of  the  same  name,  occasionally  assisted 
liis  father  in  liis  plates  ;  lie  was  still  living  in  1736. 

THOURON,  Jacqdes,  miniature  painter  and 
painter  on  enamel,  was  born  at  Geneva  in  1737. 
He  settled  in  Paris  at  an  early  age,  and  exhibited 
enamels  at  the  Salon  in  1781  and  1782.  In  the 
Louvre  there  are  by  him  a  miniature  portrait  of 
Franklin,  a  replica  of  the  same  in  enamel,  and  a 
'Bacchante,'  after  Madame  Lebrun,  in  enamel. 
He  died  in  Paris  about  1790. 

THUFEL  (Teufel),  JofiANN,  wood  engraver  of 
the  sixteenth  centurj-,  called  the  Master  of  the 
Picklock  (mit  dem  Dietrich)  from  the  device  met 
with  on  his  woodcuts  in  the  Wittenberg  Bible  of 
1572.  He  is  said  to  have  worked  at  Wittenberg 
between  1540  and  1570,  and  to  have  painted 
portraits  of  Princes  of  the  House  of  Saxony. 

C.  J.  Ff, 

THUILLIER,  Pierre,  a  French  landscape 
painter,  born  at  Amiens  in  1799.  In  his  early 
years  he  studied  law,  but  preferring  art  he  worked 
successively  under  Watelet  and  Gudin.  He  travelled 
much  in  the  South  of  France,  Italy,  and  Algiers 
where  he  found  subjects  for  his  pictures.  His 
works  appeared  at  the  Salon  from  1831  to  1857. 
He  died  in  Paris,  November  19th,  1858.  The 
French  provincial  museums  are  rich  in  his  land- 
scapes. 

THULDEN,  (TnLDEN,)  Theodoor  van,  was 
born  at  Hertogenbosch,  in  1607.  He  went  early 
to  Antwerp,  where  he  studied  at  first  under  Abra- 
ham Blyenberch,  and  afterwards  under  Rubens. 
His  master  employed  him  as  an  assistant,  and  he 
is  said  to  have  had  a  considerable  share  in  '  for- 
warding' the  pictures  for  Marie  de'  Medici's  Palace 
of  the  Luxembourg.  He  visited  Paris  in  1633, 
where  he  was  engaged  to  paint  a  series  of  twenty- 
four  pictures  from  the  Life  of  St.  John  of  Matha, 
for  the  choir  of  the  Mathurins,  as  well  as  three 
altar-pieces  for  the  high  altar,  and  two  for  chapels. 
One  of  the  latter,  a  Saint  Barbara,  is  perhaps  bis 
masterpiece.  On  his  return  to  Flanders,  he  settled 
in  Antwerp,  and  married  the  daughter  of  Hendrik 
van  Balen.  He  painted  several  pictures  for  the 
churches  and  public  buildings  of  Antwerp,  Mechlin, 
Ghent,  Bruges,  and  other  Flemish  cities,  and  made 
the  cartoons  for  the  windows  in  the  chapel  of  the 
Virgin,  in  S.  Gudule,  Brussels.  In  1648  he  was  at 
the  Hague,  where  he  painted  seven  historical  and 
allegorical  pictures,  commemorating  the  election  of 
the  Stadtholder  Frederick  Henry,  and  the  victory 
of  Nieuport,  for  the  '  House  in  the  Wood.'  He  did 
not  confine  himself  to  historical  subjects,  but  also 
painted  rural  pastimes  and  village  festivals,  in 
which  he  excelled.  He  painted  figures  in  the 
churches  of  Peter  Neefs  and  Steenwyck,  and  in  the 
landscapes  of  Wildens  and  Mompers,  and  even 
Snyders  was  indebted  to  him  for  assistance  in  his 
hunting-pieces.     He  died  about  1676.     Works  : 

Antwerp.  Museum.  The  Arch  of  Philip  I. 

„  „  Portrait      of      Benedict      van 
Thulden. 

Berlin.  „  Tnumph  of  Galatea. 

Brussels.  „  Christ  at  the  Column. 

„  „  A  Flemish  Wedding. 
176 


Copenhagen.  „  Christ  appearing  to  the  Vurgin. 

Ghent.  ^*>°/ *;  I  Martyrdom  of  St.  Adrian. 

""''"•      J^n^^dit.  ]  ^^rtyrdom  of  St.  Sebastian. 
Paris.  Louvre.    Christ  appearing  to  the  Virgin. 

Toumai.  Museum,    Portraits. 

Vienna.  Gallery.    The  Visitation. 

„  „  The     Virgin      receiving      the 

homage  of  the  Netherlands. 
„  „  The  Return  of  Peace. 

,,  „  Reconciliation    of    Jacob    and 

Esau. 
Assumption   of  the  Virgin  (formerly  in  the  Jesuits' 
Church,  Bruges). 

We  have  a  considerable  number  of  etchings 
by  Theodoor  Van  Thulden,  both  from  his  o-wn 
designs  and  after  other  masters.  Among  them  are 
the  following  : 

A  set  of  twenty-four  plates  of  the  Life  of  St.  John  of 
Matha;  after  the  pictures  painted  hy  himself .     163:1 

The  History  of  Ulysses,  in  fifty-eight  plates  ;  from  the 
pictures  painted  byPi-i«ifrf)n'!oatFontainebleau.  1C40. 

Eight  plates  from  the  Triumphal  Arches  designed  by  Ru- 
bens for  the  entry  of  the  Cardinal  Infant  Ferdinand 
into  Antwerp. 

The  Prodigal  Son ;  in  eight  plates ;  from  Ms  own  designs. 

THURSTON,  John,  bom  at  Scarborough  in 
1774,  was  principally  employed  in  designing  book 
illustrations,  which  may  be  found  in  most  of  the 
editions  of  the  poets  and  novelists  published 
early  in  tlie  present  century.  Among  the  works 
illustrated  by  him  were  : 

'  Religious  Emblems.'     1S03. 

'  Shakespeare.'     181-). 

Falconer's  '  Shipwreck.'     1817. 

Somerville's  '  Rural  Sports.'    1813. 

In  1806  he  was  made  an  Associate  of  the  Water- 
Colour  Society.     He  died  in  London  in  1822. 

THYS,  a  Dominican  monk,  who  is  represented 
in  the  Antwerp  Museum  by  a  '  Descent  from 
the  Cross,'  but  of  whose  life  no  details  are  known. 
His  picture  belongs  to  the  period  of  Flemish 
decadence. 

THYS,  AnoDSTlNE.  Two  painters  of  this  name 
are  inscribed  in  the  '  Liggeren  '  as  members  of  the 
Corporation  of  Antwerp  in  the  17th  century.  It 
has  been  stated  that  the  younger  of  these  two  was 
a  son  of  Peeter  Thys,  that  he  was  instructed  by  his 
father,  and  imitated  Nicholas  Berchem  with  much 
success,  painting-  landscapes  with  figures  and  cattle. 
But  the  names  of  Peeter  Thys's  ten  children  are  all 
preserved  in  parochial  records  at  Antwerp,  and 
there  is  no  Augustine  among  them.  It  would  seem 
therefore  that  a  mistake  has  arisen  from  similarity 
in  the  not  uncommon  surname. 

THYS,  GysBRECHT,  a  native  of  Antwerp,  who 
flourished  about  the  year  1625,  was  a  scholar  of 
Adrian  Hanneman.  He  was  one  of  the  ablest 
portrait  painters  of  his  time,  and  his  works  in  that 
branch  of  art  have  been  sometimes  mistaken  for  the 
pictures  of  Van  Dyck.  He  also  excelled  in  paint- 
ing landscapes,  with  figures  and  animals.  In  his 
smaller  landscapes  with  figures  he  imitated  the 
manner  of  Poelemburg.  Some  of  his  pictures  are 
dated  1660.     He  died  in  1684. 

THYS,  Jean  FRANgois,  a  Flemish  subject  painter, 
born  at  Brussels  in  1783.  He  was  the  son  of  Pierre 
Joseph  Thys,  under  whom  he  studied.  His 
picture  of  Zeghers  receiving  the  presents  of  the 
Prince  of  Orange,  is  now  in  the  Brussels  Museum. 
He  died  in  1865. 

THYS,  Peeter,  the  elder,  (or  Tyssens,)  bom  at 
Antwerp  in   1616,  was  a   pupil   of  Artus   Deur- 


PAINTERS  AND   ENGRAVERS. 


Brussels.  Museum. 
Copenhagen.  Gallery. 
Ghent.  Museum. 


waerder,  and  a  distinguished  painter  of  the  second 
rank.  He  practised  portraiture  and  liistorical 
painting;  in  the  former  he  founded  his  style  upon 
that  of  VanDyck  ;  in  liis  historical  pictures,  the  in- 
fluence of  Casper  de  Crayer  is  perceptible.  His 
talent  attracted  the  notice  of  Leopold  I.,  who 
appointed  him  court  painter.  Particulars  as  to  his 
life  are  very  scanty.  He  was  made  free  of  the 
Guild  of  St.  Luke  in  1644-45,  and  became  dean  in 
1660.  The  date  of  his  death  is  uncertain,  but  it 
must  have  taken  place  before  the  middle  of  1683, 
for  in  June  of  that  year  the  Guild  paid  over  a  sum 
of  sixty-eight  florins  to  his  heirs.     Works : 

Antwerp.         Museum.    St.  Francis  receiving  the  Indul- 
gence of  the  Portiuncula. 
„  „  Daedalus  and  Icarus. 

1,  „  The  Virgin  and  St.  William. 

,)  ,  The  Saviour  appearing  to  St.  John 

of  the  Cross. 
„  „  Two  Portraits. 

„  ;S.  Jacques.     Adoration    of    the    Host.    (Hit 

masterpiece.) 
The  Martyrdom  of  St.  Benedict. 
The  Marriage  of  St.  Catharine. 
The  Temptation  of  St.  Anthony. 
„  „  Conversion  of  St.  Hubert. 

„  „  St.  Sebastian. 

Stockholm.  „  Ulysses  recognizing  Achilles. 

Vienna.  Gallery.     Venus  bewailing  Adonis. 

His  son,  Peeter,  born  in  1652,  was  also  a  painter. 
THYS,  Pierre  Joseph,  born  at  Lierre  in  1749, 
was  educated  in  the  Academy  at  Antwerp.  He 
also  studied  under  Koeok,  the  flower-painter,  and 
in  his  house  became  acquainted  with  Spaendonck, 
with  whom  he  went  to  Paris.  He  afterwards 
established  himself  at  Brussels,  and  was  employed 
to  decorate  the  orangery  of  the  palace  of  Laeken 
with  flower-pieces.  These  were  carried  off  by  the 
French  in  1792.  During  the  latter  part  of  his  life 
he  was  employed  in  what  is  called  "  restoring,"  in 
which  he  was  very  adroit,  and  he  continued  this 
profitable  occupation  till  the  time  of  his  death,  in 
1823. 

TIARINI,  Alessandro,  born  at  Bologna  in  1577, 
was  first  a  scholar  of  Prospero  Fontana,  and  after- 
wards of  Bartolorameo  Cesi.  Having  to  fly  from 
Bologna  on  account  of  a  quarrel,  he  retired  to 
Florence,  where  he  studied  for  some  time  under 
Domenico  Cresti,  called  Passignano.  Before  long, 
however,  the  fame  of  Lodovico  Carracci  induced 
him  to  venture  back  to  Bologna,  where  he  soon 
raised  himself  to  a  good  position.  The  subjects 
he  selected  were  congenial  with  his  grave  and 
sedate  character.  '  La  Madonna  Addolarata,'  the 
'  Sorrows  of  the  Magdalene,'  and  the  '  Repentance 
of  St.  Peter,'  were  often  treated.  His  principal 
works  in  the  public  edifices  at  Bologna  are  a  tine 
picture  of  the  '  Virgin,  Mary  Magdalene,  and  St. 
John,  weeping  over  the  instruments  of  the  Passion,' 
in  the  church  of  S.  Benedetto ;  '  St.  Catlierine 
kneeling  before  a  Crucifix,'  in  S.  Maria  Maddalena  ; 
a  '  PietA,'  in  S.  Antonio  ;  and  '  S.  Dominic  restor- 
ing a  dead  Child,'  in  the  church  dedicated  to  that 
saint.  The  last-mentioned  picture  excited  the  sur- 
prise and  admiration  of  Lodovico  Carracci.  Tiarini 
died  at  Bologna  in  1668.  Other  works  : 
Bologna.      S.  Petronio.     Martyrdom  of  St.  Barbara. 

„  <S.  Salvatore.     The  Nativity. 

„  S.  Vitale.     The  Flight  into  Egypt. 

„  Pinacoteca.     Marriage  of  St.  Catharine- 

„  „  John  the  Baptist  before  Herod. 

„  „  St.  Bruno  in  the  Desert. 

Dresden.  Gallery.    Angelica  and  Medoro. 

Florence.  Uffizi.     His  own  Portrait. 

VOL.  v.  N 


Florence.  S.  Marco.  Legend  of  St.  Antonio. 

„  Pal.  Pitti.  Death  of  Abel. 

Milan.  Brera.  Belieadiug  of  St.  John. 

Modena.  Gallery.  Crucifixion. 

Munich.  Pinacothek.  Rinaldo  in  the  Enchanted  Wood. 

Paris.  Louvre.  The  Eepentance  of  St.  Joseph. 

^^^^°'    delUGhiarra.  }  ^^^i^  ^^  S*'  ^'^"'^  °^  ^'^'■ 

„  „  A  number  of  Frescoes. 

Vienna.  Gallery.    Christ  bearing  His  Cross. 

TIB ALDI,  Maria  Felice,  painter,  born  at  Rome 
in  1707,  became  the  wife  of  the  painter  Subleyras 
in  1739.  She  painted  portraits  and  historical  sub- 
jects in  oil  and  pastel,  and  numerous  miniatures,  of 
which  the  two  best  known  were,  '  Bacchus  and 
Ariadne,'  and  '  Angelica  and  Medoro.'  She  made 
a  copy  of  her  husband's  work,  '  The  Last  Supper,' 
for  Pope  Benedict  XIV.  Her  sisters,  Teresa  and 
Isabella,  were  also  artists  in  the  same  genre. 

TIBALDI,  Domenico  Pellegrino,  engraver  and 
architect,  born  at  Bologna  in  1540,  was  the  younger 
brother  of  Pellegrino  Tibaldi,  and  learnt  the  rudi- 
ments of  design  in  his  native  city.  He  is  said  to 
have  also  practised  painting,  but  this  statement 
rests  on  very  slight  grounds.  He  is  said  to  have 
taught  engraving  to  Agostino  Carracci,  and  Mal- 
vasia  believes  them-to  have  worked  in  conjunction. 
The  nine  plates  catalogued  by  Bartsch  are  so  fine 
in  quality  that  we  may  conclude  that  many  of  the 
anonymous  prints  of  his  time  are  by  Tibaldi.  As 
an  architect  and  engraver  he  won  a  considerable 
reputation.     This  is  the  list  given  by  Bartsch  : 

The  Repose  in  Egypt ;  after  his  own  design. 

The  Holy  Trinity ;  after  Sammachini.    1570. 

The  Virgin  with  a  Rose  ;  after  Parmigiano. 

St.  Francis  of  Assisi ;  copied  from  two  prints  by  C. 
Cort  ;  the  landscape  from  one  with  the  date  1567, 
and  the  figure  from  another  with  the  date  1568,  both 
after  pictures  by  Gtrolamo  Muziano. 

The  Penitent  Magdalen  ;  after  Titian. 

The  Triumph  of  Peace  ;  ajter  his  own  design. 

Portrait  of  Pope  Gregory  XIll.;  after  Passarotti.     1572. 

View  of  the  Grand  Fountain  in  the  Palazzo  ScaiEeri  at 
Bologna.     1570. 

View  of  a  magnificent  Palace,  ornamented  with  columns 
and  statues,  from  a  design  by  G.  Alghisi.  It  is  in  two 
plates,  with  the  date  1566.  Bartsch  is  of  opinion  that 
there  should  be  a  third  plate  to  complete  the  com- 
position. 

Zani  says  Tibaldi  was  born  in  1532  and  died  in 
1583  ;  but  his  epitaph  says  1540  and  1582. 

TIBALDI,  Pellegrino,  called  Pellegrino  da 
Bologna,  and  Pellegrino  Pellegrini,  was  born  at 
Bologna  in  1527.  He  was  a  disciple  of  Bagna- 
cavallo,  and  distinguished  himself  as  an  architect 
no  less  than  as  a  painter.  In  1547,  after  copying 
the  works  of  Vasari  at  St.  Michele  in  Bosco,  he  went 
to  Rome,  where  he  studied  the  works  of  Michel- 
angelo. Cardinal  Poggi  employed  him  in  ornament- 
ing his  Vigna,  near  the  Porta  del  Popolo,  with 
frescoes.  The  same  patron  further  employed  him 
in  the  completion  of  his  palace  at  Bologna,  now 
the  Palazzo  dell'  Institute,  which  was  finished  from 
his  plan,  and  which  is  regarded  as  one  of  his  prin- 
cipal works  as  an  architect.  The  interior  of  the 
palace  he  decorated  with  subjects  from  the  Odys- 
sey. He  constructed  a  chapel  for  his  patron, 
in  the  church  of  S.  Giacomo  Maggiore,  and  painted 
in  it  a  '  St.  John  preaching  in  the  Wilderness,'  and 
the  '  Division  of  the  Elect  from  the  Damned.' 
The  Cardinal  Poggi  next  employed  him  in  the 
erection  of  a  chapel  in  La  Madonna  di  Loretto, 
where  he  painted  the  '  Nativity,'  the  '  Presentation 
in    the   Temple,'   the   '  Transfiguration,'   and    the 

177 


A   BIOGRAPHICAL  DICTIONARY  OF 


'  Decollation  of  St.  John.' 


He  was  also  employed 
by  Cardinal  Carlo  Borroraeo,  at  Pavia,  on  the  plans 
for  the  Palazzo  della  Sapienza. 

In  1586  Tibaldi  was  invited  to  Spain  by  Philip  II.,  i 
and  employed  in  the  Escurial,  where  he  painted  the 


Diisseldorf. 

Haniburg. 

Leipsic. 


Gallery. 
Museum. 
Museum. 


greater  part  of  the  lower  cloister,  having  first  erased' 
the  work  of  Federigo  Zuccaro.  But  Tibaldi's  best 
work  in  Spain  is  the  ceiling  of  the  Madrid  Library, 
on  which  he  painted  a  composition  suggested,  it  is 
said,  by  Raphael's  'School  of  Athens.'  After  a 
residence  of  nine  years  in  Spain,  he  returned  rich  to 
Italy,  and  settled  at  Milan,  where  in  1570  he  was 
appointed  architect  to  the  Duomo.  He  died  at 
Milan  about  1592.  His  oil  pictures  are  extremely 
rare  out  of  Spain  and  Italy.  In  the  Bologna 
Gallery  there  is  a  '  Marriage  of  St.  Catharine  '  by 
him  ;  in  the  Vienna  Gallery  a  '  St.  Cecilia'  ;  in  the 
Dresden  Gallery  a  '  S.  Jerome  with  an  Angel ' ;  and 
in  the  Ullizi  his  own  portrait. 

TIBERIO,  an  Italian  painter  of  the  16th  century, 
was  anativeof  Assisi  and  a  pupil  of  Perugino,  whose 
manner  he  endeavoured  to  imitate.  Extant  works 
by  him  are  :  a  '  Madonna '  in  the  church  of  S.  Mar- 
tino,  near  Trevi ;  a  '  Madonna  and  five  scenes  from 
the  life  of  St.  Francis'  (1512),  in  the  church  of  San 
Francesco  at  Montefalco  ;  a  '  St.  Sebastian,'  in  the 
church  of  S.  Fortunate  at  Montefalco;  a  'Ma- 
donna,' at  S.  Domenico  at  Assisi,  and  Scenes  from 
the  life  of  St.  Francis  in  Santa  Maria  dcgli  Angeli 
in  the  same  city  (1518). 

TIDEMAN,  (or  Tiedeman,)  Philip,  born  at  . 
Hamburg  in  1657,  of  a  respectable  and  opulent 
family,  was  a  pupil  of  Nicholas  Raes,  a  painter  of 
history  of  some  reputation,  under  whom  he  studied 
eight  years.  He  had  made  considerable  progress 
under  that  master,  when  the  fame  of  Gerard  Lairesse 
induced  him  to  visit  Amsterdam.  On  his  arrival 
he  was  admitted  into  the  school  of  Lairesse,  who 
soon  began  to  employ  him  as  his  assistant.  On 
leaving  that  master  he  was  employed  in  painting 
historical  and  allegorical  pictures  in  public  build- 
ings and  private  houses.  Among  his  best  pro- 
ductions of  this  kind  was  a  saloon  for  the  Verschuur 
family,  at  Hoorn,  in  which  the  History  of  jEneas 
was  treated  with  some  originality.  Tideman  died 
at  Amsterdam  in  1705. 

TIDEMAND,  Adolf,  a  Norwegian  subject  and 
landscape  painter,  was  born  at  Mandal  on  the  14th 
August,  1814.  He  was  a  distinguished  student  of 
the  Copenhagen  Academj',  but  completed  his  studies 
at  Diisseldorf,  under  Scliadow  and  Hildebrandt. 
Returning  to  Norway  in  1842,  he  soon  took  a  high 
place  in  the  Norwegian  school,  and  was  appointed 
court-painter.  One  of  his  chief  works  was  a  series 
of  twelve  pastoral  pictures  for  the  Royal  Palace  of 
Oscarhall,  near  Christiania.  His  reputation  was  not 
confined  to  his  native  country :  he  was  elected  a 
member  of  the  Academies  of  Berlin,  Copenhagen, 
Stockholm,  and  Amsterdam.  In  England,  the 
works  which  he  exhibited  at  the  Exhibition  of  1862 
attracted  much  attention,  and  contributed  greatly 
to  raise  the  reputation  of  the  Scandinavian  school. 
He  died  at  Christiania  on  the  25tli  August,  1876. 
Tidemand's  colour  is  cold  :  his  forte  is  the  fidelity 
with  which  he  reproduces  the  manners  of  the 
peasantry  of  his  native  coimtry.  The  following 
are  some  of  his  best  works : 


Stockholm.   Nat.Mus. 
Vienna.  Gallery. 


Meeting  of  Haugians.     1848. 
The  Wolf  Hunters. 
Departure    of    Norwegian    Emi- 
grants. 
Tlie  Story-Teller.     1857. 
Keturn  from  a  Bear  Hmit. 


Carlsruhe.       Gallery. 
Christiania.  Nat.  Mus. 


Grandmother's  Bridal  Ornaments. 
The  Haugians. 

Sunday  Afternoon. 


178 


lTS:.]^^<'^^^--'>'°^^^ 


TIDEY,   Alfred,    miniature   and   water-colour 
portrait  and    landscape  painter  ;   born   April   20, 
1808,  at  Worthing  in  Sussex,  third  son  of  John  and 
Elizabeth  (it^e  Churcher)  Tidey;  died  April  2, 1892, 
at  Acton,  Middlesex.     His   early  education    and 
Art  training  were  received  from  his  father,  who  had 
a  private  school  for  boys  at  Worthing,  and  was  a 
great  lover  of  nature,  doing  many  sketches  of  the 
neiglibourhood,  and  himselfillustrating  articles  and 
booklets  that  he  wrote  of  the  locality.     He  was  of 
a  humorous,  sympathetic  disposition,  a  boy  always 
with  his  boys,  the  centre  figure  of  all  their  amuse- 
ments as  well  as  of  their  study.     Of  his  two  sons 
wlio  followed  painting  as  their  profession,  the  elder, 
Alfred,  inherited   more  especially  this  liumorous 
and  fascinating  disposition,  youthful  even  to  old 
age,  and  the  next  son,  Heury,  his  more  studious 
disposition,   searching   deeply   into    the    theories 
of  life   and  all   scientific   questions  of  the  hour. 
Seeking   his  fortune  in   London  notwithstanding 
lie  had  but  little  interest  and  still  less  of  cash, 
he  speedily  attracted  many  notable  sitters  to  his 
studio,   and   obtained   admission    to  the   Schools 
of  the  Royal  Academy  in   1834.     He  began  ex- 
hibiting portraits  at  the  Royal  Academy  in  1831, 
where  he  continued  to  exhibit  without  any  break 
until  1857,  in  some  years   showing   as   many  as 
eight.    His  work  was  always  delicate  and  graceful, 
with  bright  and  happy  expressions.     Some  of  his 
best  miniatures  were  of  J.  Hargreaves,  Esq.,  the 
Earl  of  Abergavenny,  Sir   J.   P.    Boileau,  Bart., 
and  Anna  Maria  his  daughter,  Miss  Phillips  of  the 
Theatre  Royal,  Drury  Lane,  Miss  E.  Pliillips  of  the 
Haymarket,  Mrs.  Bishop,  Dr.  Mays,  Mrs.  Cipriani, 
Miss   Ellen   Tree   of  the  Theatre   Royal,  Covent 
Garden,  the  Misses  Brisbane,  a  son  of  John  Con- 
stable, R.A.,  Sir  John  Conroy,  K.C.H.,  Dr.  Arnold 
of  Rugby,  Lady  Brisbane,  Countess  Dowager  of 
Chichester,  the  Hon.  Mrs.  and  the  Rev.  Dr.  Hol- 
land, Miss  Henrietta  Borrer,  Rev.  Dr.  Anderson, 
Archdeacon   and  Mrs.   Webber.     The  Hon.  Miss 
.■\nson,  exhibited  at  the  Royal  Academy  in  1841,  was 
jiainted  for  the  Queen  by  Her  Majesty's  command, 
and  for  this  purpose  the  artist  happened  to  be  at 
Buckingham  Palace  at  tlie  time  of  the  announce- 
ment of  the  birth  of  the  Princess  Royal.     A  few 
months  later  he  received  the  Royal  commission  to 
make   a   copy   of  the   miniature  painted   by   Sir 
Wm.   Ross  of  this  baby  Princess  ;  this  copy  in 
after  years  was  presented  to  H.R.H.  the  Emperor 
Frederick,  and  in  the  year  1873  the  Empress,  then 
Crown   Princess  of  Germany,  sat   to   him   for   a 
water-colour   portrait   and   also   commissioned    a 
portrait  of  her  little  daughter  Victoria  ;  these  were 
exhibited  at  the  Royal  Academy  the  same  year. 
Other  notable  miniatures  were  of  Viscount  Nevill, 
Miss  Maria  Blake,  Lady  Henrietta  Priscilla  Somer- 
set,  daughter  of  the    Duke    of    Beaufort,   Lady 
Catherine  Boileau  and  the  children  of  Lord  Ashley, 
Lady  Ashley  in  costume  of  1745  as  worn  at  Her 
Majesty's  Ball,  June  5,  1845,  Viscountess  Jocelyn, 
Countess  of  Shelbourne.   One  very  charming  minia- 
ture which  he  entitled  '  The  Wliite  Mice '  was  a  full- 
length  of  a  youth  in  shirt-sleeves,  seated  on  the 
ground  playing  with  his  tiny  pets.     Many  lovely 
portraits  were  made  of  his  own  picturesque  boys. 


ALFRED  TIDEV 


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RANULF  AND  STRATFORD  TOLLFMACFIE,   CHILDREN  OF  LORD  TOLLEMACIIE 

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PAINTERS  AND  ENGRAVERS. 


In  1855  he  married  Justina,  daughter  of  Alexander 
Campbell,  and  had  three  eons.  A  few  years  after 
his  marriage  he  went  to  live  in  the  country,  and 
devoted  his  time  principally  to  landscape  painting, 
and  for  many  years  travelled,  making  long  sojourns 
in  Jersey,  Corsica,  Rome,  Florence,  Weisbaden. 
The  result  of  so  much  wandering  was  a  vast 
number  of  sketches  and  but  few  finished  pictures 
in  the  latter  days.  He  exhibited  119  pictures  at 
the  Royal  Academy  and  at  various  other  Exliibi- 
tions.    Some  of  his  chief  pictures  were  portraits  of : 

The  Dowager  Countess  of  Chichester.    (Lard  Chichester.) 
Lady  Priscilla   Louisa  Somerset.     (The  Duke  of  Beau- 
fort) 
Sir  John  P.  Boileau.  ^    zc      r 

Lady  Catherine  Boileau.  I  (%'"  ^'■''«"» 

Anne  Maria  and  Edmund,  their  children.  J       -"""eau.) 
Dr.  Arnold  of  Rugby.     (3fiss  Francis  Arnild.) 
White  Mice.     (Dr.  Stuart  Tidey.) 
The  Empress  Frederick  as  Crown  Princess  (water-colour). 

(H.M.  the  King.) 
Rhona,    daughter  of    Lord    ToUemache    (water-colour), 
(Dowager  Lady  ToUeittache.)  I,  L. 

TIDEY,  Henry,  genre  and  portrait  painter  in 
water-colours,  brotiier  of  the  above,  Alfred  Tidey, 
born  also  at  Wortliing  in  Sussex,  fourth  son  of 
John  and  Elizabeth  Tidey,  on  January  7,  1813  ; 
died  in  London,  July  21,  1872.  He  also,  it  would 
seem,  had  no  other  instruction  in  Art  than  that 
received  from  his  father  in  his  school  until  the 
time  that  he  came  to  London  to  seek  his  fortune 
and  study.  Many  excellent  portraits  were  produced 
in  those  early  days,  but  his  name  is  better  remem- 
bered by  his  large  subject  pictures,  scriptural  and 
poetical.  These  were  mostly  exhibited  at  the 
Galleries  of  the  New  (now  Royal)  Institute  of 
Painters  in  Water-Colours,  where  he  was  a  constant 
contributor  from  the  time  he  was  made  a  full 
member  (1869)  until  his  death.  At  the  Royal 
Academy  he  exliibited  from  1839  to  1861.  Making 
London  always  his  home  he  led  a  hardworking, 
uneventful  life — an  entluisiastic,  poetical  nature, 
gentle  and  unaffected.  He  married  in  1848  Anne, 
daughter  of  Richard  Thos.  Hodges,  Lieut,  in  the 
Royal  Navy,  but  had  no  issue.  Of  scriptural  pic- 
tures the  most  important  were,  '  The  Night  of  the 
Betrayal,'  a  triptych  very  powerful  in  colouring 
and  composition  ;  '  The  Woman  of  Samaria,'  and 
'  Christ  blessing  little  Children,'  both  36  x  60.  The 
latter  was  painted  for  Mr.  Francis  Fuller,  and  the 
three  little  fair-haired  children  in  the  central  group 
and  the  infant  in  the  arms  of  Christ  are  portraits 
of  Mr.  Fuller's  children.  Of  subjects  taken  from 
the  poets,  '  Dar  Thula'  (Ossian),  exhibited  in  1849 
at  the  Royal  Academy  and  awarded  a  gold  medal 
at  Glasgow  in  1808,  is  now  in  the  possession 
of  the  Diike  of  Manchester  ;  '  The  Feast  of  Roses ' 
purchased  by  Queen  Victoria  for  a  birthday  gift 
to  the  Prince  Consort;  'Forest  Flowers,'  'Sea- 
weeds,' 'The  last  of  the  Abencerages,'  'Sardana- 
palus'  (a  companion  picture  to  this,  '  Anthony  and 
Cleopatra,'  was  commissioned  by  the  owner,  the 
last  on  which  he  worked,  and  was  unfinished  when 
he  died);  'Queen  Mab  '  (Shelley),  an  oval  37x46, 
exhibited  in  1860  and  at  Antwerp  when  the  Eng- 
lish water-colour  artists  were  invited  and  a  banquet 
given  in  the  large  hall  of  the  Exhibition,  'Queen 
Mab'  had  the  place  of  honour;  'Pigmalion  and 
Galatea,'  '  Haidee  and  Don  Juan,'  and  '  Hiawatha's 
Wooing' may  be  mentioned.  These  subjects  are 
broad  and  simple  in  treatment,  rich  in  colour. 
Four  large  single-figure  pictures  were  of  the  four 
seasons,  60x29  each.  One  of  his  most  charming 
N  3 


portrait  paintings  was  of  his  brother  Alfred's  two 
elder  children,  and  many  times  his  little  sitters 
were  painted  in  some  fanciful  subject,  as  Gilbert 
Elkington,  as  Ariel  on  a  bat,  and  his  sister  as 
Sunbeam.  Amongst  portraits  exhibited  at  the 
Royal  Academy  were  those  of  Sir  John  Dean  Paul, 
Lady  Mary  Hamlyn  Williams  and  daughter,  the 
Countess  of  Roden,  Lady  Dononghmore  and  Lady 
Jocelyn,  daughters  of  Lord  Roden,  Viscount  and 
Viscountess  Castlereagh,  the  Hon.  Wyndham 
Quin,  afterwards  Earl  of  Dunraven.  He  was  an 
active  member  and  Vice-President  of  the  Society 
for  the  Encouragement  of  the  Fine  Arts.  Exhibits 
at  R.  A.,  67  ;  B.  I.,  1  ;  S.  S.,  10  ;  N.  W.,  103. 
Some  of  his  chief  pictures  were  : 

The  Xight  of  the  Betrayal,     (ifrs.  Noble.) 

Queen  Mab.     (Mrs.  Phiilips.) 

Dar  Thula.     ( The  Duke  of  Nanchester.) 

Spring,   Summer,    Autumn    and    Winter.     (Sir    David 

Curyill.) 
Christ  blessing  little  Children.     (Mrs.  Francis  Fuller.) 
Sardanapalus.     (H^in.  Gre^ham,  Esq.) 
Forest  Flowers.     (John  Brinton^  Esq.) 
Hiawatha's  Wooing.     (  W.  G.  Thompson^  Esq.) 
Ariel  on  a  Bat  (-portrait).  "i 

Scarlet  Runner  and  White  Rose.  V(Fred.  Elkington,  Esq.) 
White  Lily  and  Ragged  Robin.  ) 

l^^^'-\(MissBoyd.)  ^^ 

TIEFFENTAL,  Hans,  of  Schlettstadt,  painted 
the  chapel  zum  elenden  Kreuz,  at  Basel,  like  that 
of  the  Charterhouse  of  Dijon,  to  which  town  he  was 
sfnt  by  the  Burgomaster  and  Council  of  the  city  in 
1418.  This  accounts  for  the  strong  Netherlandish 
influence  which  is  visible  in  a  number  of  pictures 
by  masters  of  the  Swabian  School.        W.  H.J.  W. 

TIELEMANS,  Martin  Francois,  a  Flemish 
historical  and  portrait  painter,  born  at  Lierre  in 
1784.  He  studied  in  the  Antwerp  Academy,  and 
afterwards  under  David.  He  eventually  became 
Director  of  the  School  of  Design  at  Lierre,  where 
he  died  in  1864.     His  best  known  picture  is : 

Christ  and  the  Disciples  at  Emmaus. 

TIELKER,  JoHANN  Friedrich,  born  at  Bruns- 
wick in  1762,  was  a  miniature  painter  and  engraver, 
and  practised  at  Darmstadt.  He  received  a  sum- 
mons to  the  Court  of  Berlin,  where  he  painted  and 
engraved  portraits  of  Iffland  and  Fraulein  Dobblin. 
He  subsequently  tried  his  hand  at  aquatint  engrav- 
ing and  landscape  painting.  He  also-made  some 
essays  in  the  painting  of  panoramas,  the  most 
successful  of  which  were  those  of  St.  Petersburg 
and  Moscow,  which  he  exhibited  in  Russia  ;  the 
former  he  even  took  to  China  in  the  suite  of  the 
Russian  Ambassador.  He  died  at  Brunswick  in 
1830. 

TIEPOLO,GiovANNi  Battista,  (Giambattista,) 
son  of  Domenico  di  Giovanni  Tiepolo,  ship's- 
captain  and  marine  merchant,  and  of  Orsola 
(Orsetta)  Jugali,  his  wife,  was  bom  at  Venice,  in 
the  parish  of  San  Pietro  a  Castello,  in  1696 — 
probably  in  March,  since  his  baptismal  certificate 
is  dated  April  16.  His  father  died  in  1697, 
leaving  a  large  fortune  to  be  divided  among  his 
six  children  (five  sons  and  a  daughter),  of  whom 
the  painter  and  one  brother — from  whom  come 
such  Tiepoli  as  still  exist — were  the  only  ones,  who 
left  descendants.  About  the  year  1721  he  married 
Cecilia,  sister  of  the  celebrated  painter,  Francesco 
Guardi,  by  whom  he  had  nine  children  (five  sons 
and  four  daughters).  When  at  Venice  he  resided 
with  his  family  in  the  parish   of  SS.  Trinity  near, 

179 


A   BIOGRAPHICAL   DICTIONARY   OF 


the  bridge  of  S.  Francesco  della  Vigna.  His 
earliest  master  was  one  Gregorio  Lazzerini,  a 
painter  much  esteemed,  and  perliaps  overpraised,  in 
his  day  ;  but  the  careful  study  of  the  work  of  Paul 
Veronese  and  Titian  worked  upon  his  genius  with 
most  successful  results. 

His  earliest  known  frescoes — in  the  Chapel  of 
Sta.  Teresa  in  the  Church  of  the  Soalzi  at  Venice — 
are  conceived  somewhat  in  the  manner  and  colour 
of  Gian  Battista  Piazzetta  :  but  his  own  tastes 
turned  rather  to  transparent  atmospheric  effects, 
in  which  respect  no  ceiling-decorator  has  ever 
surpassed  him.  The  amount  of  work  accomplished 
by  him,  principally  in  fresco,  on  the  vast  ceilings 
and  wall-spaces  of  the  magnificent  palaces  and  villas 
at  Venice  and  in  the  Venetio — and  subsequently 
also  at  Wiirzburg  and  in  Spain — with  the  assistance 
of  his  two  painter-sons,  Giovanni  Domenico  and 
Lorenzo,  is  stupendous.  Moreover  he  left  behind 
him  a  large  number  of  huge  altar-pieces  and  other 
oil-paintings,  together  with  carefully-executed 
sketches  and  studies, — often  too  in  oils, — for  a 
number  of  the  former,  and  also  a  great  quantity  of 
humorous  sketches  for  engravings  and  wood-cuts. 
He  was  invited  to  Beri,'amo  in  1733  to  decorate 
the  ceiling  of  the  Cappella  Colleoni  with  '  Scenes 
from  the  Life  of  St.  John  the  Baptist '  and  '  Four 
Virtues,'  and  to  paint  other  pictures  both  for  that 
chapel  and  the  Cathedral.  At  about  the  same  date 
he  also  painted  an  altar-piece  for  the  Church  of 
Rovetta  in  the  Valle  Seriana.  In  1737  he  executed 
a  series  of  important  works  in  several  of  the  rooms 
of  the  Villa  S.  Sebastiano  at  Malmarana,  near 
Vicenza  :  '  Scenes  from  the  "  Iliad,"  the  "  Orlando 
Furioso,"  and  the  "  Gerusalemme  Liberata."'  He 
was  assisted  here,  we  read,  by  his  son  Giovanni 
Domenico,  then  but  a  child  of  ten,  and  by  the  cele- 
brated sculptor-architect,  Mingozzi  Colonna,  who 
collaborated  with  him  also  in  so  many  of  his 
wonderful  ceiling  designs. 

His  finest  ceilings  and  frescoes  in  Venice  are  : 
the '  Institution  of  the  Rosary  '  (1739.  I.  Gesuati) ; 
the  'Transport  of  the  Holy  House  of  Loretto ' 
(1743-1744.  Gli  Scalzi) ;  the  'Triumph  of  Faith  ' 
(1760.  Madonna  della  Pieti) ;  and  the  superb 
saloon  in  the  Palazzo  Labia  with  '  Scenes  from  the 
Story  of  Antony  and  Cleopatra.'  Another  fine 
ceiling  by  him  in  oils  is  in  the  Scuola  del  Carmine 
(1743);  while  other  splendid  paintings,  which 
show  the  extraordinary  versatility  of  his  genius, 
are  to  be  found  in  the  Church  of  the  Gesuati 
('  Madonna  and  Child  with  three  Dominican  Female 
Saints.'  1748),  St.  Alvise  ('Way  of  the  Cross'), 
and  SS.  Apostoli  (the  'Communion  of  St.  Lucy'). 
In  1740  he  executed  some  striking  frescoes  at 
Milan  in  the  Palazzi  Clerici,  Archinti  and  Dugnani ; 
and  in  1745  he  painted  a  '  Martyrdom  of  Christians 
under  Trajan'  for  the  Church  of  SS.  Faustino  and 
Giovita  at  Brescia.  To  the  year  1749  is  due  the 
extravagant  but  powerful  ceiling  in  the  great 
Pisani  Villa  at  Strk,  near  Venice  ;  and  the  follow- 
ing year,  accompanied  by  his  son  Gio.  Domenico, 
he  started  for  Wiirzburg,  where  he  resided  for 
nearly  three  years,  executing  the  magnificent 
ceilings  and  other  works  in  the  Archbishop's 
Palace,  &c.  In  1753  he  returned  to  Venice,  and 
carried  out  several  less  important  commissions, 
among  them  the  large  painting  of  '  St.  Fidelis 
destroying  Heresy,'  now  in  the  Gallery  at  Parma, 
of  which  a  smaller  replica — probably  a  finished 
sketch  for  the  larger  work — is  in  the  Pinacoteca  at 
Turin.     This   work    was    commissioned    by    the 

180 


Capuchin  Convent  at  Parma  about  1755,  whence  it 
was  removed  to  the  Picture  Gallery  in  1810.  In 
1755  he  was  elected  President  of  the  Academy  of 
Fine  Arts  at  Padua,  formed  in  the  previous  year. 
In  1760  he  received  a  handsome  present  together 
with  the  cordial  thanks  of  the  King  of  France  for 
a  picture  sent  to  that  monarch,  and  two  years 
later  he  was  invited  with  liis  two  sons  by  King 
Charles  III.  of  Spain  to  the  Court  of  Madrid,  where 
he  resided  in  the  palace  of  the  Marchese  di  San 
Giacomo,  Via  del  Setajuoli,  in  the  parish  of 
San  Martino.  At  Aranjuez  and  at  San  Sebastian 
he  executed  a  number  of  fine  works  in  the  Royal 
Palaces,  incurred  the  jealousy  and  active  enmity 
of  Raphael  Mengs,  and  died  on  March  27,  1770. 
Owing  to  the  bitter  rivalry  of  the  said  Mengs,  and 
the  curious  artistic  blindness  of  the  immediately 
succeeding  generations,  the  wonderful  merits  of 
Tiepolo  as  a  draughtsman  and  colourist  have 
scarcely  been  recognized  until  now.  Viewed  by 
the  side  of  his  celebrated  predecessors'  achieve- 
ments his  paintings,  no  doubt,  suffer  by  comparison, 
but  when  studied,  at  Wiirzburg  for  example, 
apart  from  the  inevitable  parallels  suggested  at 
Venice,  they  cannot  but  surprise  and  charm  the 
beholder.  T'hey  may  err  at  times  in  affectation, 
whilst  their  wanton  fantasy  often  runs  riot :  as, 
for  instance,  in  the  Scalzi  ceiling,  where  the 
Holy  Family  are  perched  upon  the  roof  of  their 
house,  as  it  flies  through  the  air  ;  or  where  the 
Roman  Consul,  in  the  Brescia  picture,  smokes  a 
pipe  ;  but  they  are  themselves  so  perfectly  in 
accordance  with  the  taste  and  spirit  of  Venice  at 
that  period — decadent,  no  doubt,  but  magnificent 
in  her  decHne — that  too  severe  criticism  stands 
disarmed  in  the  face  of  their  undoubted  force  and 
brilliance.  His  charming  etchings  and  '  Scherzi,' 
together  with  those  of  his  son  Giovanni  Domenico, 
are  well  known  and  much  prized  by  collectors. 
The  names  of  two  of  Tiepolo's  models  have 
been  recorded  by  contemporary  writers :  Alim, 
the  negro  slave,  whom  he  represents  so  often, 
and  Cristina,  the  stately  daughter  of  the  Venetian 
Gondolier,  who,  as  Cleopatra  and  other  noble 
dames,  is  also  so  conspicuous  in  his  works.  The 
former  was  baptized  under  the  name  of  Zuane 
(Giovanni)  Domenico  Martin  at  the  painter's 
instigation  on  December  18,  1741,  when  he  was 
about  seventeen  years  of  age,  but  died  on  March 
16,  1749.  A  portrait  of  him  by  his  master  is 
reported  to  have  existed  at  Venice,  and  is  supposed 
to  have  been  sold  in  France. 

Nearly  every  Picture  Gallery  in  Europe 
possesses  some  examples,  if  only  minor  ones,  of  the 
work  of  Tiepolo,  and  to  furnish  a  complete 
account  would  not  be  practicable  here.  Thv' 
following,  however,  is  a  fairly  exhaustive  list  of  the 
principal  and  most  characteristic  specimens  of  his 
genius : 

Aranjuez.  Palace.     Frescoes. 

ij  ,,  Altar-piece. 

„  Orangery.     Frescoes. 

,,  Convent.     Frescoes. 

Bergamo.  Cathedral.     Martyrdom  of  San  Giovanni, 

Bishop  of  Bergamo.  (Large 
oil  painting.) 
„      Cappella  Colleoni.     Scenes  from  the  Life  of  St. 
John  the  Baptist  and  Four 
Virtues.     (Ceiling.) 
St.  Bartholomew. 
St.  Mark, 
„   Accadtmia  Carrara.     Sketch  for  the  painting  m  the 
CathedraL 


GIOVANNI  BATTISTA  TIEPOLO 


^hiJcJ-iion  photo\ 


\Palazzo  Lahhid,   I  'euuc 


ANTONY  AND  CLEOPATRA 


PAINTERS   AND  ENGRAVEES. 


Berlin.         Boi/al  Gallery.     The      Eeception     in     State. 
{Small  delicate  work.) 
tt  „  Venus  at  the  Bath.     {Large 

oil.) 
„  „  Martyrdom    of    St.    Agatha. 

{Large  oil.) 
Biron  Tilla  Loschi  )  „ 

(nr.Vieenza).  del  Vervie.^''""'"^^- 
Brescia.    Ch.  of  SS.  Faus-  1  Martyrdom      of      Christians 

tinus  and  Giovita.  j      under  Trajan. 
Buda-Pesth.        Museum.     Ferdinand  the  Catholic,  Con- 
queror over  the  Moors. 
Cavenzano-Friuli.  ParuA  )  ,  ,. 

Desenzano.  The  Last  Supper.     (Oil.) 

Este.  Cathedral.     St.  Tliecla. 

Florence.  [/ffizi.    Sketches  of  Putti.     {Oils.) 

Hamburg.  Weher  Galtery.    Two    sketches    in    oils ;    one 
being  for  the  "Way  of  the 
Cross  in  S.  Alvise,  Venice. 
La  Mira        Palazzo  Wid-  ■)  t,,        ™  .         .         c     -^ 
(Venetia).   ma««a«ai?»-(.T';!,.,^"'i"Pli     °f     ^«°"»- 
cossa.i      (Ceihng  fresco.) 

„  „  The    Story     of     Iphigenia. 

{Jf'all  fresco.) 
„     Palazzo  Contarini.     Frescoes. 
Madrid.  Escorial.  {Garden  \  p_„^  ^^  Vulcan. 


Room.) 
(Antechamber.) 


[  Forge  of  ' 


(Ceiling.) 


Spain    leaning    on     a    Lion. 
( Ceiling. ) 

„  (Great  Saloon.)     Allegorical  representations  of 

the      Spanish      Provinces. 
{Ceiling.) 
Montecchio  Villa.  '\ 

Maggiore         Cordellina.  >  Frescoes, 
(nr.  Vicenza).  J 

Milan.  3fuseo  Civico.     Communion  of  St.  Lucy. 

„  Brera.     Two  Sketches. 

„  Museo  Poldo  Pezzoli.     Two  Virtues. 
„  „  Sketch    for    the    painting  at 

Rovetta. 
„      Palazzo   Dugnani.     The  Story  of  Esther.     (Fres- 

coesA 
„  Palazzo  Clerici.    The  (Jhariot  of  the  Sun  and 

„  (Tribunale.)         other     mythological      sub- 

jects.    (Ceiling.) 
„        Palazzo  Arehinti.)^.^     j  ^1^     ^  ^      (^. 

Carm.))      <-'^^^^^^^9  frescoes,) 
Mirano.      Parish  Church.     Miracle     of     St.      Anthouy. 

{Oil.) 
Munich.    Old  Finacothek.     The  Adoration  of  the  Magi. 

„  „  Calchas  and  Iphigenia. 

Padua.    Ch.  of  S.Antonio.     Martyrdom   of    St.    Agatha. 
{Altar-piece.     Restored.) 
„      Ch.  of  S.  Massimo.     Holy  Family. 
„  „  St.  John  the  Baptist  preach- 

ing in  the  Desert.     {Altar- 
piece.) 
„  ,,  San  Massimo  in  prayer  before 

King  Oswald.  {Altar-piece.) 
„  Ch-  of  S.  Lucia.     St.  Luke.     {Fresco  over  Cam- 

panile Door.) 
„  Museo  Civico.     St.    Patrick  heahng    a    sick 

man.   ( Altar-piece fromCh. 
ofS.  Giovanni  di  J'erdvra.) 
Parma.       Roi/al  GalL,5S.     San   Fidelis  of   Sigmaringen 
and   B.  John   of  Leonessa 
(or  San  Lorenzo  of  Brindisi^ 
destroying  Heresy.     {Oils.) 
Rovetta,  Valle       Parish  \  Assumption  of  the  Madonna 
Seriana.  Church.)      with  Saints.    {Altar-piece.) 

St.  Petersburg.  Banquet  of  Cleopatra, 

„       Gall,  of  Prince  ~ 
Jou^soupoff. 
San  Sebastian     )  „  , 

(Spain).    ^  / 

San  Sebastiano  Villa  \  Scenes  from  the  *  Iliad/  the 

(nr. Vicenza).   Valmarana.  j      '  Orlando  Furioso/ and  the 

*  Gerusalemme      Liberata.* 

{Fresco    decorations    of    a 

numher  of  Saloons.) 

StrA  Palazzo  Pisani.    Apotheosis     of     the     Pisani 

(Venetia).  Family.     {Ceiling  fresco.) 


I  \  Death  of  Dido. 
Frescoes. 


Stuttgart.   Royal  Gallery.    Mythological  Scene.     (Sketch 

for  fresco  at  Wurzhurg.) 
Turin.    Royal  Piiiacoteca.,     Sketch  for  San  Fidelis  and  B. 
588.        John  of   Leonessa  in    the 
Pamia  Gallery.      {Oil.) 
„  „  594.     The  Triumph  of  the  Kmperor 

Aurelian.     {Oil.) 
Udine.  Cathedral.     Paintings  and  frescoes. 

Archhishop^s  Palace  )  ^^    ^  ^    ^^^  ^       j 
(Ceili ng  of  Staircase.)  )  ° 

„  (Throne Room.)       Portraits    of    Patriarchs     of 

Aquileia,  &c, 
„  (Gallery.)    History  of  Jacob  and  Sacrifice 

of  Abraham. 
„  (Sala  Rossa.)     Judgment  of  Solomon. 

"    J     ^^'Ai  ^i  "'(a'  \  Paintings  and  frescoes. 
donna  delta  Furita.  j  ° 

„  Museo  Civico.    Council   of  the    Knights    of 

Malta.     (Oil.) 

„  „  St.  Francis  de  Sales.     (Oz7.) 

„  „  The  Guardian  Angel.     \OilS 

Venice.       Academy,  343.     The  Brazen  Serpent.     (Oil.^ 

,,  „        481.    HolyFamily  with  San  Cajetan. 

(Oil.) 

„  „        462.    St.  Helena  finding  the  Cross. 

(Ceiling  painting:  fresco. 
From  the  Church  of  the 
Capuchins  at  Castello.) 

„  ,,        484.     St.   Joseph    with  the    Holy 

Child  and  Four  Saints. 
(Oil.) 

„  Palazzo  Papadopoh.     The  Charlatan. 

„  „  The  Minuet. 

„  Palazzo  Ducale.  ^  Neptune  offering  to  Venice 

„  (Sala   delle  Quattro  >     the  Treasure  of  the  Deep. 
Porte.))      (Oil.) 

„  Palazzo  Labia.     Saloon  frescoed  with  Scenes 

from  the  Story  of  Antony 
and  Cleopatra. 

„  Palazzo  Rezzonico.  The  Chariot  of  Venus. 
(Fresco.) 

„    Palazzo  Martinengo^ 

Michiel.  VCeiling  frescoes. 

„  (Delle  Colonne.)} 

„  Palazzo CalboCrotta.     Herodias.     (Oil.) 

,,  Scuola  del  Carmine.  Madonna  and  Child  in  Glory 
with  St.  Simeon  Stock, 
surrounded  by  various 
Virtues.  (Ceiling  painting 
in  oils.) 

„         Ch.  of  the  Scalzi.  \  Apotheosis  of  Santa  Teresa. 
(Chapel of  Crncifx .)  )      (Fresco.     Early  work.) 
(Chapel of  Sta.  Teresa.)     The  Transport  of  the    Holy 
House  of  Loretto.  (Ceiling 
fresco.)     1743-1744. 
Ch.  ofS.  Paolo.     St.  Paul  before  the  Tyrant. 

,,  „  St.  John  Nepomuck. 

„         Ch.  of  S.  Alvise.     The  Way  to  Calvary.      (Oil.) 

„  ,,  The  Crowning  with  Thorns. 

(Oil.) 

„  „  The  Flagellation.     (Oil.) 

„  Ch.ofS.3faria  della\The      Triumph      of     Faith. 
Pietii.j      (Ceiling  fresco.) 

„  Ch.  of  the  Gtsuati.  The  Institution  of  the  Kosary. 
(Fresco.) 

„  „  Madonna     and     Child     with 

three  Dominican  female 
Saints.     (Oil.) 

„  Ch.  della  Fava.     St.  Anne  and  the  Virgin. 

„  Ch.  of  S.  Eustachio.     Martyrdom    of    St.    Bartho- 
lomew. 
Verona.  Palazzo  Canossa.     MythologicalScenes.((7«7inji.) 

„  Ch.  ofS.  Sebastiano.  Scenes  from  the  Books  of 
Maccabees.     (Oil.) 

„  Museo.    Madonna  and  Child  with  two 

Saints. 

„  „        Four  Olivetan  Saints. 

Vicenza.  Museo.    The  Immaculate  Conception. 

„      Ch.  ofS.  St'fano.     Two  Apostles. 

,,         Palazzo  Monza  a  )  ™,         .        , , 


Palazzo  Colleoni. 


Portraits  of  Illustrious  Mem- 
bers of  the  Family  in 
monochrome. 

181 


A  BIOGRAPHICAL  DICTIONARY  OF 


Vicenza.   Palazzo  Valvia-  >  ^^^^^^^^ 
rana.  j 
„       Palazzo  Vecchia.     The      Triumph      of     Virtue. 
(Ceiling  frtsco.) 

Vienna.  Royal )  gj_  Catherine  of  Siena. 

Museum^  446.  } 
„  Liechtenstein  Gallery.    The  Agony  in  the  Garden. 
Wurzburg.  Residenz.  \  Large  ceiling  fresco  :    Car  of 

„  (Staircase.)  j      Allegorical  figures  with  the 

Four  Quarters  of  the  Globs. 
(Kaiser   Saal.)     Large  Ceihng  painting  :  His- 
tory   of     Frederick     Bar- 
barossa,  Car  of  Apollo,  &c. 
„         (Small  Saloon.)     Two  FiStes  Galantes. 

(Hof  Capelle.)     A.'ssumption.     (^Altar-piece.) 
The  FaU  of  the  Eebel  Angels. 
{Altar-piece.) 
„  University  Gallery.     Small  works. 
„  Private  Collections.    Small  works.       R.  H.  H.  C. 

TIEPOLO,  Giovanni  Domenico,  son  of  the 
above  Giovanni  Battista  Tiepolo.  Born  August 
30,  1727,  he  accompanied  and  assisted  his  father 
in  most  of  bis  important  decorative  works.  But 
few  separate  paintings  by  liim  are  known,  althougli 
in  1753  he  went  to  Dresden  to  the  Court  of 
Charles  PhiHp  Duke  of  Franconia,  where  he  appears 
to  have  been  commissioned  to  make  two  designs 
for  a  picture  of  the  '  Flight  into  Egypt'  He,  bow- 
ever,  etched  twenty-four  designs  for  this  subject, 
which  eventually  formed  a  well-known  book.  He 
was  back  at  Venice  in  1745,  acting  in  his  father's 
stead  at  the  marriage  of  his  sister  Elena  to  Giuseppe 
Bardese  di  Andrea  of  the  parish  of  S.  Salvatore  ; 
and  in  1749  he  painted  a  '  Via  Crucis'  in  oils  for 
the  Church  of  S.  Paolo,  dedicating  the  picture  to 
Cavaliere  Alvise  Cornaro.  In  1761  he  accompanied 
his  father  and  his  brother  Lorenzo  to  Spain, 
whence,  after  the  former's  death  in  1770,  he 
returned  to  Venice  and  took  up  his  residence  with 
his  mother  and  sisters  in  the  parish  of  S.  Fosca. 
In  1749,  in  1771,  and  again  in  1791,  we  find  him 
executing  elaborate  mural  decorations  in  the 
family  villa  at  Zianigo,  near  Venice.  On  Oct.  20, 
1776,  he  married  with  great  pomp  in  the  Scuola 
dei  Fornai,  near  the  Church  of  the  Madonna  dell' 
Orto,  Margherita  Moscheni,  by  whom  he  had  two 
daughters,  both  bearing  the  name  of  Cecilia,  but  of 
whom  neither  appears  to  have  lived  very  long,  or 
to  have  survived  her  father.  In  1783  he  went  to 
Genoa  to  decorate  some  saloons  in  the  Doge's 
Palace  there.  He  lived  to  see  the  fall  of  the 
Republic,  and  its  enslavement  to  a  foreign  power. 
In  January  1795  he  made  his  will,  and  on  March 
3,  1804,  he  died  in  the  parish  of  SS.  Ermagora 
and  Fortunato.  After  his  decease  his  widow 
married  again,  and  with  Giovanni  Domenico  the 
main  line  of  Tiepolo  died  out.  R.  II.  H.C. 

TIEPOLO,  Lorenzo,  was  the  youngest  child 
of  Giambattista  Tiepolo.  He  was  born  on  June 
2,  1737,  and  appears  to  have  assisted  Ins  father, 
like  his  brother  Giovanni  Domenico.  He  accom- 
panied them  both  to  Spain,  and  seems  to 
have  remained  there  after  his  brother's  return  to 
Venice.  The  last  notice  of  him  is  in  the  will  of 
his  sister  Anna,  dated  May  11,  1772,  wherein  she 
leaves  a  legacy  of  one  hundred  ducats  to  "  her 
beloved  brother  Lorenzo,then  in  Madrid."    s,H.  H.C. 

TIEKCE,  Jean  Baptiste,  landscape  painter, 
was  born  at  Rouen  in  1741.  He  was  a  pupil  of 
Pierre,  was  received  by  the  Academy  in  1786,  but 
never  became  an  Academician.  In  1779  he  settled 
in  Italy,  where  he  died.  In  the  Orleans  Museum 
there  is  a  scene  from  Ariosto,  in  Indian  ink,  by  him. 

TIERENDORFF,    Jeremie    van,    a     Flemish 

182 


historical  painter,  who  was  at  work  about  the  yeai 
1626.  There  is  a  'Christ  delivering  the  Keys  to 
the  Apostle '  by  him  in  the  church  of  St.  Peter  at 
Yprfes,  and  a  '  Nativity  '  in  the  church  of  St.  James. 

TIERSONNIER,  Louis  Simon,  a  French  painter 
of  history  and  mythology,  born  in  1718.  He  was 
a  member  of  the  Academy  of  St.  Luke,  and  assist- 
ant professor.     He  died  in  Paris  in  1773. 

TIESENHAUSEN,  Paol,  Freihere  von,  marine 
painter,  was  born  at  Idfer,  in  Esthonia,  in  1837. 
He  served  in  the  Russian  army  during  the  Crimean 
war,  and  afterwards  devoted  himself  to  painting, 
which  he  studied  at  the  Munich  Academy,  and 
under  the  landscape  painter  Millner.  A  sea-piece  by 
the  young  artist  attracted  the  notice  of  Lier,  who 
took  him  into  his  studio,  and  developed  his  talents 
in  the  direction  thereby  pointed  out.  He  painted 
a  number  of  poetically  conceived  sea-pieces,  taking 
his  subjects  from  the  northern  coasts.  The  Stutt- 
gart Gallery  has  a  '  Harbour  at  Nightfall '  by  him. 
He  died  at  Munich  in  1876. 

TILBORCH,  Egidids,  (or  Gilles  van,)  the 
elder,  was  born  at  Antwerp  about  the  year  1670. 
He  was  a  contemporary  of  David  Teniers  the  elder, 
and  painted  similar  subjects,  representing  Flemish 
wakes  and  festivals,  which  were  esteemed  at  the 
time  in  which  he  lived.  He  died  about  1632.  At 
Lille  there  is  a  Village  Fete  by  him,  dated  159-,  the 
last  figure  being  undecipherable.  Some  writers 
have  doubted  the  existence  of  the  elder  Tilborch, 
and  ascribed  the  pictures  on  which  his  name  ap- 
pears to  his  son.  The  date  at  Lille  seems  enough 
to  disprove  tliis  theory. 

TILBORCH,  Egidids,  (or  Gilles  van,)  the 
yoimger,  son  of  Egidius  van  Tilborch  the  elder,  was 
born  at  Brussels  in  1625.  On  his  father's  death  he 
became  a  scholar  of  Teniers,  at  the  time  when 
Francois  Duchatel  studied  under  that  master.  He 
was  made  free  of  the  Guild  of  St.  Luke,  at  Brussels, 
in  1654.  His  pictures  represent  peasants  regaling, 
and  village  feasts,  which  are  ingeniously  composed 
and  vigorously  coloured,  though  infinitely  inferior 
to  those  of  Teniers  in  the  lightness  and  dexterity  of 
his  pencil,  and  in  the  clearness  and  purity  of  his 
colour.  His  death  is  supposed  to  have  occurred  in 
1678.     Works: 


Brussels. 
Copenhagen, 
Dresden. 
Petersburg. 


The  Hague. 


Museum. 

Gallery. 

'■     Gallery. 

Hemtitaje. 


Museum. 


Vienna.    Liechtenst.  Gal. 


A  Cavalcade. 

The  Cobbler. 

A  Dutch  Wedding. 

Guard-room. 

Courtyard  of  an  Inn. 

Workman  Smoking. 

An  Interior. 

A  Portrait  Group. 

Peasants  quarrelling. 

Other  pictures  at  Bordeaux,  Nantes,  Rouen,  and 
Valenciennes. 

TILENS,  Hans,  a  Flemish  painter,  was  bom  at 
Antwerp  in  1589  (?).  He  painted  in  the  manner  of 
Paul  Bril,  and  is  said  to  have  enjoyed  the  friendship 
of  Van  Dyck,  who  painted  his  portrait.  In  1612 
he  became  master  in  the  Guild  of  S.  Luke.  The 
only  two  known  works  by  him  in  public  galleries 
are,  '  A  Mountainous  Landscape,'  at  Vienna,  and  a 
'  Landscape  with  Mythological  Figures,'  at  Berlin. 
He  died  at  Antwerp  in  1630. 

TILIUS,  Jan  van,  a  native  of  Hertogenbosch, 
who  practised  in  the  second  half  of  the  17th  century. 
He  painted  conversations  in  the  manner  of  Caspar 
Netscher.  There  are  no  particulars  of  him  recorded 
beyond  his  reception  into  the  '  Schilds-conf  rerie  '  at 
the  Hague  in  1683.  In  the  Dresden  Gallery  there 
is  a  picture  of  a  woman  sewing,  by  him.     It   is 


PAINTERS   AND   ENGRAVERS. 


inscribed  J.  TUius  Pin.,  1681.  '  A  Young  Man  plaj-- 
ing  Bagpipes,'  in  the  Vienna  Gallery,  is  dated  1680. 
TILL,  JoHANN,  Austrian  painter ;  born  at 
Vienna,  July  19,  1827  ;  studied  at  the  Academy 
there  under  Ruben,  and  after  residence  at  Diiasel- 
dorf,  Munich,  and  Rome,  he  settled  as  an  historical 
painter  in  his  native  city.  His  '  Godefroi  de 
Bouillon' is  in  the  Vienna  Museum.  He  died  at 
Vienna,  November  22,  1894. 

TILL,  JoHANN  Karl  von,  a  German  engraver, 
bom  at  Nuremberg  in  162-1.  He  was  chiefly  en- 
gaged in  engraving  portraits  and  other  plates  for 
books.  An  indifferent  etching  of  a  bust  of  Fer- 
dinand Talientschger  crowned  by  Minerva,  is  in- 
scribed Joh.  Carl  van  Till,  1644.  He  died  in  1676. 
TILLAUD,  Jean  Bafjiste,  (Tilliard,)  a  French 
engraver.  We  have  by  him  several  etchings  of  the 
national  dresses  of  the  Savoyards  and  Russians  ; 
after  St.  Aubin,  Le  Prince,  and  others.  He  was 
born  in  Paris  in  1740,  and  was  a  scholar  of  Fessard, 
but  engraved  in  much  better  taste  than  his  master. 
His  works,  which  are  very  numerous,  are  chiefly 
plates  for  books.  He  died  in  Paris  in  1813.  Among 
his  illustrative  prints  may  be  named  : 

Some  of  the  views  in  Choiseul-Gouffier's '  Voyage  de 

la  Grtee.' 
Vignettes  for  an  edition  of  Tasso  ;  after  Cochin. 
The  plates  for  the  quarto  edition  of  Telemachus  ;  after 

Monnet. 
The  greater  part  of  the  prints  for  the  Abb6  Chappe's 

'  Voyage  en  Sib^rie.' 
A  series  of  Savoyards,  with  the  title  '  Mes  Commission- 

naires,  mes  Gens,'  &c. 
A  Portrait  of  Pope  Clement  XIV. ;  after  D.  Porta. 
Hagar  in  the  Desert ;  after  J.  Fernet. 
Russian  Shepherds ;  after  Le  Prince. 

TILLEMANS,  Pieter,  (Tilmans,)  born  at  Ant- 
werp in  1684,  was  the  son  of  a  diamond-cutter, 
and  was  instructed  in  landscape  painting  by  an 
indifferent  artist  whose  name  has  not  been  pre- 
served. He  visited  England  in  1708,  and  first 
attracted  notice  by  his  excellent  copies  after  Bor- 
gognone,  Teniers,  and  others.  He  painted  land- 
scapes with  small  figures,  seaports,  country-seats, 
hunts,  and  races,  and  drew  horses  very  well.  He 
was  favoured  with  the  patronage  of  the  Duke  of 
Devonshire,  for  whom  he  painted  a  view  of  Chats- 
worth,  one  of  his  best  pictures,  and  was  much  em- 
ployed by  the  fourth  Lord  Byron,  whom  he  taught 
to  draw.  Another  important  picture  by  him  was 
that  of  the  Duke  of  Kingston  and  a  shooting-party, 
dated  1725.  In  1719  he  was  employed  on  Bridge's 
'  History  of  Northamptonshire,'  for  which  he  made 
nearly  five  hundred  drawings.  He  died  at  Norton, 
•in  Suffolk,  December  5,  1734. 

TILLEMANS,  Simon  Pkter,  called  Schenk,  of 
Bremen,  lived  at  Utrecht,  1639-1642,  where  his 
first  wife  died,  June  16, 1642.  He  was  esteemed  as 
'a  painter  of  landscapes.  He  also  painted  some 
excellent  portraits,  and  was  invited  to  the  court  of 
Vienna  by  the  Emperor  Ferdinand,  whom  he 
painted,  with  several  distinguished  members  of  his 
court.  Tillemans  died  in  1670.  His  daughter 
practised  as  a  flower-painter. 

TILSON,  Henry,  born  in  Yorkshire  in  1659,  was 
educated  under  Sir  Peter  Lely.  After  the  death  of 
that  master  in  1680,  he  went  in  company  with 
Dahl  to  Italy,  where  he  resided  seven  years.  He 
painted  portraits,  both  in  oil  and  pastel,  and  was 
likely  to  make  a  figure  in  his.profession,  when  his 
mind  became  deranged,  and  he' shot  himself  in  1695, 
at  the  age  of  thirty-six.  He  painted  his  own  portrait 
two  or  three  timea. 


TIMAGORAS,  a  painter  of  Chalcis,  known  only 
as  having  defeated  Panoenus  of  Athens  in  a  contest 
at  the  Pythian  games. 

TIMANTHES,  the  distinguished  and  successful 
competitor  of  Parrhasius,  was,  according  to  Quin- 
tilian,  a  native  of  Cythnus,  in  Attica;  according  to 
others,  of  Sicyon.  He  triumphed  over  Parrhasius 
with  his  '  Ajax  disputing  with  Ulysses  for  the  arms 
of  Achilles.'  Born  at  a  period  when  considerable 
progress  had  been  made  in  rendering  expression, 
he  carried  it  still  farther.  Of  this  he  gave  proof  in 
his  celebrated  '  Sacrifice  of  Iphigenia.'  Having 
represented  in  the  various  actors  different  degrees 
of  sadness,  be  exhausted  his  powers  in  the  face 
of  Menelaus,  Iphigenia's  uncle,  and  unable  to  give 
a  still  deeper  expression  to  Agamemnon,  her  father, 
he  covered  his  features  with  a  veil.  Pliny  mentions 
with  high  praise  a  picture  by  Timanthes  of  a 
'  Sleeping  Cyclops.' 

TIMBAL,  L.  C.  Perhaps  somewhat  better 
known  as  an  art  critic  than  an  artist,  Timbal  yet 
deserves  attention  by  reason  of  the  decorations  he 
did  in  the  church  of  Saint  Sulpice,  which  are 
treated  very  much  in  the  style  of  the  fresco  work 
by  Masaccio  at  Florence.  Timbal  was  born  in 
Paris  about  1801,  and  exhibited  for  some  few 
years  in  the  Salon,  but,  acquiring  a  very  consider- 
able fortune,  he  devoted  most  of  his  life  to  art 
criticism,  and  to  the  collection  of  fine  examples  of 
Italian  art  work  of  the  Renaissance  period.  The 
leading  art  journals  of  France  contained  many 
articles  from  his  pen.  He  had  a  particular  passion 
for  the  work  of  Piero  della  Francesco,  and  many 
of  the  figures  in  his  own  frescoes  are  reminiscent 
of  the  great  master  of  Arezzo.     He  died  in  1880. 

TIMBRELL,  James  C,  the  younger  brother 
of  Henry  Timbrell  the  sculptor,  born  in  1810.  He 
exhibited  some  subject  pictures  at  the  Royal 
Academy  and  the  British  Institution,  but  his  work 
was  not  of  great  importance.  He  painted  the  sea 
rather  well,  and  was  fond  of  groups  of  sailors  and 
sea-scenes.     He  died  at  Portsmouth  in  1850. 

TIMOMACIIUS,  a  painter  of  Byzantium,  living 
in  the  time  of  Julius  Cajsar,  who  purchased  two  of 
his  pictures,  an  'Ajax '  and  a '  Medea,'  and  dedicated 
them  in  the  Temple  of  Venus  Genetrix.  j 

TIMOTEO  DA  URBINO.    See  Bella  Vitb. 

TINELLI,  Cavaliere  Tiberio,  painter,  was  born 
at  Venice  in  1586.  He  studied  under  Giovanni 
Contarini  and  Leandro  Bassano,  and  painted  por- 
traits in  historical  disguises,  a  proceeding  which 
won  him  much  employment.  His  small  pictures 
of  historical  and  mytliological  subjects  were  also 
popular.  Some  of  his  pictures  found  their  way  into 
the  collection  of  Louis  XIII.,  who  conferred  on  him 
the  order  of  knighthood.  He  occasionally  painted 
large  pictures  and  altar-pieces,  in  which  he  was 
less  successful  than  in  those  of  a  cabinet  size.  Ho 
resided  the  greater  part  of  his  life  at  Florence. 
According  to  Ridolfi,  domestic  afflictions  drove  him 
into  a  state  of  despondency,  and  he  is  said  to  have 
put  an  end  to  his  own  life  in  1638. 

TINQHIUS,  A.  M.,  was  an  engraver  who  flour- 
ished about  the  year  1670.  Strutt  says  he  engraved 
the  great  '  Temptation  of  St.  Anthony  '  from  the 
drawing  by  Callot.  Zani  notices  a  Florentine  en- 
graver of  the  name  Antonio  Meitinghius,  as  having 
flourished  in  1627. 

TINNEY,  John,  an  English  engraver,  born  in 
the  early  part  of  the  18th  century.  He  worked  in 
London,  where  he  traded  as  a  printseller,  and  also 
for  a  time  in  Paris.   Anthony  Walker,  John  Browne, 

183 


A   BIOGRAPHICAL   DICTIONARY   OF 


and  Woollett  were  among  his  pupils.  He  published 
a  treatise  on  anatomy  for  artists.  He  died  in  1761. 
Amongst  his  plates  are  : 

Eight  Views  of  Kensington  and  Hampton  Court ;  after 

A  nthony  H/yhmore. 
The  Times  of  the  Day. 
Portrait  of  '  Maitre  Chardin.' 

„  Catherine  CUve ;  after  Ellys. 

„  George  II. ;  after  Joseph  Uighmore. 

„  Sir  T.  Parker. 

„  John  Wesley. 

„  Flora  ;  after  Rosalia  Can'iera. 

TINTI,  Camillo,  born  at  Rome  about  the  year 
1738,  was  employed  by  Gavin  Hamilton  to  engrave 
some  of  tlie  plates  for  his  'Sohola  Italioa' ;  among 
these  were  the  following  : 

The  Marriage  of  St.  Catherine ;  after  Parmiyiano. 

Meleager  and  Atalanta  ;  after  PoUdoro  da  Caraiaggio. 

Christ  on  the  Mount  of  Olives  ;  after  Lanfranco. 

TINTI,  Giovanni  Battista,  an  Italian  painter  of 
the  16th  century,  studied  first  under  Samacchini  at 
Bologna,  and  subsequently  established  himself  at 
Parma,  where  he  took  Tibaldi,  Correggio,  and  Par- 
migiano  for  his  models.  He  painted  many  works 
for  his  adopted  city,  amongst  others,  a  large  'As- 
sumption,' of  many  figures,  for  the  cathedral.  He 
flourished  about  1590. 

TINTI,  Lorenzo,  an  Italian  painter  and  en- 
graver, born  at  Bologna  in  1626,  (1634,)  was  a 
scholar  of  Gio.  Andrea  Sirani,  and  painted  some 
altar-pieces  for  the  churches  at  Bologna  in  the 
style  of  his  master,  of  which  the  best  are,  his 
'  Scourging  of  Christ,'  in  the  church  of  La  Madonna 
del  Piombo  ;  and  the  '  Virgin  and  Child,  with  several 
Saints,'  in  S.  Tecla.  Tinti  etched  several  plates 
after  painters  of  the  Bolognese  school.  Bartsoh 
('Peintre  Graveur,'  tom.  xix.)  describes  nine  plates 
by  him,  two  of  which,  a  Holy  Family  and  an  Alle- 
gory, are  after  Elisabetta  Sirani ;  the  rest  are  por- 
traits and  frontispieces  to  books.  One  has  the  date 
1671.  Gori  mentions  two  others,  a  '  Virgin  and 
Child,'  after  Guido,  and  a  portrait  of  Dr.  J.  C. 
Claudinus,  after  Domenico  Ambrogi.  Tinti  died 
in  1672. 

TIRPENNE,  Jean  Lodis,  painter,  lithographer, 
and  writer,  was  born  at  Hamburg  of  French  parents 
in  1801.  He  was  a  pupil  of  Bouton,  Daguerre, 
and  Remond.  He  exhibited  many  landscapes  at 
the  Salon  from  1831  onwards,  but  devoted  himself 
later  to  the  illustration  of  works  on  sculpture  and 
architecture.  He  was  the  author,  jointly  with 
Chalet,  Deveria,  Maurin,  Eedoute,  and  Victor  Adam, 
of  '  La  M^thode  Tirpenne,'  and  also  wrote  several 
plays. 

TISCHBEIN,  JoHANN  Anton,  painter,  born  at 
Hayna  in  1720,  was  originally  a  clerk.  He  studied 
in  Paris  and  Rome,  settling  afterwards  in  Ham- 
burg, where  he  opened  a  Drawing  School.  He 
painted  landscapes,  historical  pictures,  and  por- 
traits ;  and  died  in  1784. 

TISCHBEIN,  JoHANN  Friedrich  AnonsT,  por- 
trait painter,  was  born  at  Maestricht  in  1750.  His 
early  instruction  in  art  was  due  to  his  uncle, 
J.  H.  Tischbein,  but  he  was  enabled  to  complete 
his  traiiung  in  France  and  Italy  through  the 
generosity  of  the  Prince  of  Waldeck.  On  his  re- 
turn to  Germany,  his  patron  appoiuted  him  court 
painter  and  councillor.  He  subsequently  prac- 
tised at  the  Hague,  at  Dessau,  and  at  Leipsic, 
where  in  1800  he  was  appointed  Director  of  the 
Academy.  He  died  at  Heidelberg  in  1812.  There 
are  by  him : 

184 


Amsterdam.  Rijks  Museum.  A  series  of  Portraits  of 
Princes  of  the  House  of 
Or.ange. 

Berlin.      National  Gallery.     Lady  playing  the  Lute. 

lirunswick.  Gallery.    Pr.  Cliarles  of  Brunswick. 

Frankfort.       Stddel  Insiit.     Two  Portraits. 

Leipsic.  Museum.     Portrait  of  Schiller. 

TISCHBEIN,  JoHANN  Heinricu,  the  elder,  his- 
torical painter,  born  at  Hayna  in  1722,  was  the  son 
of  a  baker.  He  was  first  apprenticed  to  a  lock- 
smith, then  to  a  designer  of  wall-papers,  and  lastly 
studied  under  the  court  painter  Van  Freese.  In 
1743  he  went  to  Paris,  with  the  aid  of  Count  von 
Stadion,  and  spent  five  years  in  Vanloo's  atelier ; 
thence  he  went  to  Venice,  and  worked  for  a  time 
under  Piazzetta.  After  continuing  his  studies  in 
Florence,  Bologna,  and  Rome,  he  returned  to  Ger- 
many in  1751,  and  was  appointed  court  painter  to 
Wilhelm  VIII.  of  Hesse.  In  1776  he  was  made 
Director  of  the  newly  founded  Academy  at  Cassel. 
He  painted  chiefly  mythological  pictures  and  por- 
traits, showing  in  his  works  strong  traces  of  the 
study  of  the  Italians,  and  may  be  looked  upon  as 
having  been  first  among  the  modern  Germans  to 
follow  after  the  great  Venetian  colourists,  and  to 
direct  attention  to  their  method.  He  died  at  Cassel 
in  1789.     Works : 

Berlin.  Nat.  Gal.    Portrait  of  Lessing. 

Cassel  S.  Michael's  Ch.     The  Resurrection. 

„  Lutheran  Ch.    The  Transfiguration. 

„  Catholic  Ch.     Ecce  Homo  ;  and  other  pic- 

tures. 

The  Triumph  of  Armiuius  after  the  Defeat  of  Varus. 

Tischbein  etched  several  plates  from  his  o\vn  de- 
signs, among  them  the  following  : 

Cupid  stung  by  a  Bee  complaining  to  Venus. 
Nymphs  Bathing. 
Hercules  and  Omphale. 
Mcnelaus  and  Paris. 
Thetis  and  Achilles. 

The   Eesurrection ;    after   a    picture   painted   for   the 
church  of  St.  Michael,  Hamburg. 

TISCHBEIN,  JoHANN  Heinrich,  the  younger, 
the  nephew  of  Johann  Heinrich  the  elder,  was  bom 
at  Hayna  in  1742,  and  was  taught  the  rudiments  of 
design  by  his  uncle.  His  genius  led  him  to  pic- 
turesque landscape,  though  he  occasionally  prac- 
tised portraiture.  In  1775  he  became  Director  of 
the  Cassel  Gallery.  He  engraved  a  number  of 
plates  both  with  the  point  and  in  aquatint,  after 
his  uncle,  and  after  Berchem,  Rembrandt,  &c., 
among  his  plates  are  the  following: 

Acis  and  Galatea ;  after  Jacob  ^foore. 

Bacchus  and  Ariadne  ;  after  the  same. 

A  Stag-hunt ;  after  Ruihart. 

A  Landscape,  with  Cattle ;  after  P.  Potter. 

A  Mountainous  I^andscape  ;  after  Rembrandt. 

A  Landscape  with  Animals ;  after  J.  H.  Roos. 

He  died  at  Cassel  in  1808. 

TISCHBEIN,  JoHANN  Heinrich  Wilhelm, 
painter  and  engraver,  was  born  at  Hayna  in  1751. 
After  studying  for  a  time  with  his  uncle,  Johann 
Heinrich  Tischbein,  he  went,  in  1776,  to  Hamburg, 
to  Johann  Jakob  Tischbein,  who  employed  him  in 
restoring  old  pictures,  and  in  copying  the  works  of 
Berchem  and  Wouwerman.  In  1770  he  went  to 
the  Hague  and  to  Rotterdam,  where  he  improved 
himself  by  study  of  the  old  masters.  In  1773  he 
returned  to  Cassel  and  began  to  paint  portraits, 
working  at  the  same  time  on  copies  from  Rem- 
brandt and  Van  Dyck,  and  making  studies  of 
animals.  In  1777  he  visited  Dresden  and  Berlin  ; 
in  the  latter  city  he  painted  many  portraits,  in- 


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PAINTERS  AND   ENGRAVERS. 


eluding  one  of  the  Queen  of  Prussia  ;  in  1779  he 
went  as  a  pensioner  of  the  Court  of  Hesse  to  Rome, 
where  he  studied  Raphael  and  the  antique.  In 
1781  he  was  in  Switzerland  making  drawings  for 
Lavater.  In  1782  the  Duke  of  Gotha  provided 
him  with  funds  for  a  visit  to  Rome,  and  he  there 
painted  the  '  Conradin,'  now  in  Schloss  Frieden- 
stein,  for  his  patron,  and  made  the  sketches  for  his 
'  Brutus,'  '  Sophonisba,'  and  '  Helena.'  In  1787  he 
accompanied  Goethe  to  Naples,  where  he  was  made 
director  of  the  Academy  two  years  later.  At 
Naples  he  became  acquainted  with  Sir  William 
Hamilton  ;  he  painted  a  portrait  of  the  Ambassa- 
dor's beautiful  wife,  and  carried  out  the  admirable 
engravings  in  outline  from  the  Greek  vases  be- 
longing to  Sir  William.  This  work  was  pub- 
lished at  Naples  in  1791,  in  tliree  volumes  folio, 
under  the  title  of  '  The  Hamilton  Vases.'  On  the 
occupation  of  Naples  by  the  French  he  returned 
to  Cassel,  and  settled  later  at  Hamburg.  In  1808 
he  removed  to  Eutin,  where  he  was  chiefly  occu- 
pied in  painting  portraits  and  heads  of  animals. 
He  died  at  Eutin  in  1829.  Among  his  chief  workB 
are  the  following : 

Goetz  von  Berlichingen.     1781. 

Suffer  Little  Children  to  come  unto  Me.    (W.  Ansgarii 

Kirche,  Bremen.) 
The  Rape  of  Cassandra. 
The  Parting  of  Hector  and  Andromache. 

He  has  left  147  etchings,  81  of  which  are  in  illus- 
tration of  Homer. 

TISCHBEIN,  Karl  Ludwio,  painter,  bom  at 
Dessau  in  1797,  son  and  pupil  of  Johann  Friedrich 
August  Tischbein,  also  studied  under  Hartmann  at 
Dresden.  In  1819  he  went  to  Italy,  where  he 
painted  portraits  and  poetically-conceived  genre 
pictures.  He  was  from  1825  Professor  of  Drawing 
at  the  Roman  Academy.  He  afterwards  travelled 
in  the  Netherlands,  and  finally  settled  in  Biicke- 
burg,  where  he  died  in  1855. 

TISCHLER,  Anton,  a  German  engraver,  who 
flourished  about  the  year  1750.  He  engraved  some 
of  the  plates  for  the  collection  of  prints  from 
pictures  in  the  cabinet  of  Count  Briihl.  He  was 
living  in  1774. 

TISIO,  BENVENnxo  d.^  Garofalo,  was  born  in 
1481,  his  father,  Pietro  Tisi,  who  had  taken  to  wife 
Antonia  Barbiani,  coming  from  Garofalo,  near 
Padua  (Vasari  says  his  parents  were  originally 
Paduan),  though  it  seems  certain  that  at  the  time 
of  Benvenuto's  birth  his  family  was  already  settled 
at  Ferrara.  At  the  early  age  of  ten  Benvenuto 
was  placed  to  study  with  a  Ferrarese  painter, 
Domenico  Panetti,  who  lived  between  14G0  and 
1512,  and  was  very  probably  a  pupil  of  Cosimo 
Tura.  But  this  made  only  a  beginning  to  Garo- 
falo's  artistic  peregrinations.  Seven  years  later, 
when  visiting  Cremona,  he  became  attracted  by 
and  attached  himself  to  that  interesting  artist 
Boccaccio  Boccaccino  of  Cremona,  whose  love  of 
colour  is  entirely  Venetian,  and  often  seeks  outlet 
in  his  draperies  of  rich  velvet ;  but  leaving  Boc- 
caccino in  1499  (or,  according  to  Vasari,  in  1500), 
Benvenuto  suddenly  appears  at  Rome,  studying 
under  the  Florentine  Baldini,  and  next  enters 
Lorenzo  Costa's  studio  at  Bologna, — though  before 
this  he  seems,  in  1501,  to  have  returned  to 
Ferrara,  probably  for  a  brief  visit  to  his  family. 
His  father's  ill-health  led  him,  in  1504,  to  again 
return  to  Ferrara,  where  he  remained  for  some 
four  years  in  close  artistic  relationship  with  Dosso 
Dossi,  and  his  brother  Battista.     A  second  visit  to 


Rome,  in  1509,  enabled  him  to  meet  Raphael  in 
person,  and  to  see  Michelangelo's  glorious  frescoes 
newly  painted  on  the  walls  of  the  Sistine.  That 
revelation  was  overpowering  to  the  Ferrarese 
Master,  who  remained — says  Vasari,  his  personal 
friend — "not  merely  astonished,  but  reduced  to 
despair  by  the  grace  and  living  power  of  Raphael's 
paintings,  and  the  strength  and  science  of  Michel- 
angelo's drawing."  He  sought  now  to  unlearn 
what  he  had  in  so  many  years,  with  such  care, 
acquired,  and  "  the  Master  was  seen  to  become 
pupil  (di  maestro  divenire  discepolo)."  Raphael 
himself  became  his  teacher  and  his  friend ;  but 
now  once  more  he  turned  northward.  His  native 
Ferrara  saw  him  again  in  1512,  and  remained  the 
centre  of  his  activity  until  his  death  in  1559. 
That  activity  was  in  the  last  years  of  his  life 
affected  by  a  terrible  misfortune.  In  middle  life 
Garofalo  had  lost  the  use  of  one  eye  after  a  severe 
illness,  and  the  last  nine  years  of  his  long  life 
were  spent  in  total  blindness  ;  he  bore,  says  Vasari, 
his  affliction  patiently,  and  committed  himself 
entirely  to  the  will  of  God.  Before  this  he  had  for 
years  been  an  untiring  and  fertile  creator.  Od 
and  fresco  were  both  employed  by  him,  but  the 
new  oil  medium  was  probably  his  own  favourite. 
An  artist  of  less  imaginative  power  than  Dosso, 
without  ever  losing  his  Ferrarese  character,  he  is 
sufficiently  eclectic  to  take  from  first  one  source 
and  then  another  ;  and  it  may  be  doubted  whether 
his  plunge  into  the  Roman  style,  which  we  have 
noted,  either  improved  his  later  work,  as  Vasari 
tliought,  or  as  completely  submerged  hie  Ferrarese 
character  as  the  same  critic  seems  to  suggest. 
Whether  Garofalo  influenced  Dosso  Dossi,  or  the 
reverse  was  the  case,  has  been  disputed,  but  a 
comparison  of  the  Borgliese  'Circe'  with  the  Garo- 
falos  around  will  certainly  place  first  that  great 
imaginative  colourist,  Dosso  Dossi.  The  poet 
Ariosto,  to  whom  Dosso's  genius  appealed  strongly, 
passes  by  Garofalo  without  interest.  This  latter 
name,  by  which  Tisi  is  best  known,  came  to  him  in 
all  likelihood  from  his  father's  birthplace,  not  from 
the  carnation  flower  which  in  one  instance  he 
uses  in  his  painting  as  a  signature.  After  his 
second  Roman  visit  he  became  colder  in  colour, 
more  academic  ;  but  after  all,  his  best  impulse  is 
Ferrarese,  and  it  may  be  even  regretted  that  he 
ever  left  that  school,  to  seek_in  Rome  an  inspiration 
which  was,  very  probably,  foreign  to  his  genius. 
Force  is  not  akin  to  him  :  he  is  naturally  suave, 
genial,  graceful.  The  London  National  Gallery 
has  four  of  his  paintings.  These  include  the  fine 
'  Vision  of  St.  Augustine,'  which  was  formerly 
in  the  Corsini  Palace  at  Rome,  the  '  Holy  Family 
with  Saints,'  'Christ's  Agony  in  the  Garden,' and 
the  '  Virgin  and  Child  Enthroned '  beneath  a 
canopy,  on  their  right  SS.  Francis  and  Anthony, 
and  on  their  left  St.  William  in  full  armour,  and 
St.  Clara  with  a  crucifix.  This  picture  was 
originally  the  principal  altar-piece  of  San  Gugli- 
elmo  at  Ferrara.  Four  others  of  Garofalo's 
paintings  are  contained  in  the  Mus^e  du  Louvre, 
namely,  a  '  Circumcision,'  a  '  Holy  Family,'  the 
'  Sleep  of  the  Child  Jesus,'  and  the  '  Virgin  and 
Child.' 

The  Dresden  Gallery  is  especially  rich  in 
Benvenuto  Tisi's  paintings,  beginning  with  the 
'Neptune  and  Pallas,'  which  bears  tlie  date  1512, 
and  was  therefore  painted  shortly  after  his  second 
visit  to  Rome  ;  yet,  in  spite  of  its  belonging  to 
this  period   of  his   life,  it  remains   Ferrarese  in 

185 


A   BIOGRAPHICAL   DICTIONARY   OF 


character,  and  has  more  affinity  to  Costa  or 
Francia  than  to  Rafaelle  d'Urbino.  The  '  Virgin 
adoring  the  sleeping  Clirist,'  with  the  inscription, 
borne  by  angels,  "  Tuam  ipsius  aniinam  ghidius 
pertransivit,"  bears  the  date  1517,  and  was  painted 
for  the  Clmrch  of  S.  Girolaino  at  Ferrara  ;  while 
we  have  a  masterpiece  of  his  mythological  painting 
in  the  '  Venus  and  Mars  before  Troy,'  where  the 
goddess,  half  nude,  points  out  to  her  lovfr,  armed  in 
medieval  panoply  and  wearing  a  turban,  the  con- 
fused battle  in  the  far  plain  which  extends  before 
them.  The  landscape  is  especially  charming  in  this 
canvas,  which  belongs  to  Garofalo's  best  period,  and 
came  to  this  collection  from  Modena  in  1746 ;  and 
from  the  same  place  and  at  the  same  time  came  the 
'Holy  Family,'  and  the  'Virgin,'  who  holds  the  Child 
Christ  to  St.  Cecilia,  while  other  Saints  wait  in 
attendance.  Tlie  'S.  Bruno,' with  SS.  Peter  and 
George  and  the  Virgin  enthroned  in  the  gky, 
signed  and  dated  (1530),  belongs  to  his  later 
period,  and  seems  to  have  been  painted  for  the 
Certosa  at  Ferrara  ;  and  the  '  Christ  among  the 
Doctors  '  seems  to  be  a  genuine,  though  damaged, 
work  of  Garofalo.  The  '  Marriage  of  Bacchus  and 
Ariadne,'  however,  is  a  classic  scene  treated  in  the 
richest  Renaissance  manner,  after  a  drawing  by 
Riiphael  himself;  and  is  described  by  Vasari,  though 
painted  in  his  old  age,  as  one  of  Garofalo's  master- 
pieces. 

It  is  when  we  turn  to  Italy  that,  with  so  pro- 
lific a  master,  condensation  becomes  inevitable. 
The  Borgliese  Gallery  alone  contains  ten  of  his 
works,  among  which  the  'Deposition  of  Christ' 
is  a  fine  composition  of  his  early  period,  probably 
before  1520.  The  '  Adoration  of  the  Magi ' 
(bearing  the  date  1543)  is  a  careful  work  ;  and  in 
the  'Calling  of  St.  Peter'  we  get  one  of  Tisi's 
delicious  landscape  backgrounds,  with  a  fortified 
town,  and  a  storm  sweeping  across  the  sky.  Here, 
too,  is  his  fine  '  Virgin  and  Child  with  St.  Michael 
and  Saints,'  a  work  of  his  early  time  of  great 
beauty  ;  and  his  '  Clirist  appearing  to  the  Mag- 
dalen,' where  the  risen  Saviour  is  nobly  conceived. 
In  his  '  Virgin  Enthroned,  with  SS.  Peter  and 
Paul,'  he  draws  near  to  Dosso  Dossi  ;  and  indeed  I 
find  his  colouring  and  that  of  Battista  Dossi  often 
very  similar.  This  '  Virgin  Enthroned '  is  now 
hung  next  to  Dosso's  magic  'Circe.'  In  the  Capito- 
line  Gallery  of  Rome  we  find  his  noble  '  Virgin 
Enthroned  in  Heaven,'  with  monks  who  adore  on 
earth  beneath  ;  here  both  the  charm  of  the  distant 
landscape  and  the  type  of  the  Virgin  belong  to  tliis 
artist's  best  tradition.  Twelve  paintings  appear  in 
this  collection  under  the  name  of  Garofalo  ;  but  it 
would  be  rash  to  consider  all  or  even  most  of  them 
by  this  master.  Certainly  the  last-named  is  among 
his  finest  works,  though  it  is  even  surpassed, 
perhaps,  by  the  '  Holy  Family'  beside  it,  showing 
the  Virgin  and  Child  with  St.  Anne,  St.  Joseph, 
the  little  St.  John,  and  another  Saint.  In  rich- 
ness of  colour  and  beauty  of  type  (note  especially 
the  St.  Anne)  Garofalo  never  excelled  this  work  ; 
and  here  again  the  landscape  background  is 
entirely  delightful.  The 'Annunciation  '  must  be 
mentioned  next ;  but  here  the  kneeling  Virgin  is 
affected  in  pose  and  manner,  and  the  St.  Gabriel 
seems  a  gorgeous  crimson-winged  butterfly — not 
the  grave  messenger  of  divine  things.  Other 
paintings  ascribed  to  Garofalo  in  this  collection — 
an  '  Adoration  of  the  Shepherds,'  an  '  Adoration  of 
the  Magi,'  a  '  Marriage  of  St.  Catherine ' — are  in- 
ferior to  these  and   in  most  cases  very  dubious. 

186 


Only  one  among  them,  the  '  Holy  Family  with  St. 
Jerome,'  seems  to  have  any  claim  to  our  interest. 
Works  by  Garofalo  are  to  be  found  in  the  Corsini 
Museum  at  Rome,  several  being  at  present  in  the 
private  offices  of  the  Direzione,  though  some  of 
these  are  school-paintings  ;  and  here,  too,  among 
those  priceless  album-drawings  is  one  by  this 
master.  The  Uffizi  drawings  at  Florence  contain 
two  studies  of  his  for  paintings,  drawn  in  pencil 
or  chalk  on  grey  paper  ;  and  in  this  Gallery  is  his 
painting  of  the  'Annunciation,'  a  small  work,  but 
beautifully  rendered,  and  superior,  in  many  ways, 
to  that  of  the  Capitol.  Here  again  the  landscape 
background  is  very  charming,  and  the  descending 
figure  of  Gabriel  is  full  of  splendid  movement. 
The  Brera  Gallery  of  Milan  is  rich  in  Tisi's  works, 
drawn  mostly  from  their  resting-places  in  the 
churches  of  old  Ferrara — a  '  Deposition,'  from 
S.  Antonio  of  Ferrara,  a  'Crucifixion,'  from  S. 
Vito  of  Ferrara,  an  '  Annunciation,'  from  S. 
Monaca  of  that  city — while  two  subjects  of  tho 
'  Virgin  and  Child '  attributed  to  him  are  school- 
paintings.  In  Ferrara  herself  yet  remain  his 
frescoes  upon  the  ceiling  of  the  Seminario  ; 
Garofalo,  as  we  hear  from  Vasari,  was  busy  in 
the  churches  of  this  city,  and  painted  too  within 
the  Castle  of  the  Este.  Ferrara  Cathedral  has 
still  four  of  his  paintings,  and  her  Gallery  ten, 
the  (signed)  '  Discovery  of  the  Cross'  being  very 
noticeable.  His  portraits  (Modena  Gallery)  are 
also  to  be  noted,  and  he  has  left  us  his  own 
Hkeness,  now  in  the  Morelli  Collection  ;  while  the 
Venice  Academy  contains  his  favourite  subject — 
the  '  Virgin  in  Glory.'  In  England,  within  the 
best  private  collections,  we  shall  often  come 
across  this  painter  of  Ferrara.  Sir  Frederick 
Cook's  Collection  possesses  an  example,  as  well 
as  that  of  Mr.  Ludwig  Mond — whose  sister  also 
has  at  Rome  one  of  his  paintings ;  one  also 
belongs  to  the  Duke  of  Buccleuch  ;  while  in 
the  Scottish  Academy  at  Edinburgh  there  is  a 
painting  by  his  hand.  He  died  at  Ferrara  in 
1559,  and  was  buried  in  the  church  of  S.  Maria 
in  Vado  of  that  city.  An  artist  who — though 
eclectic,  though  studying  as  he  did  from  Lorenzo 
Costa,  Raphael,  the  two  Dossi — yet  remains  indi- 
vidual,'remains  also  thoroughly  Ferrarese  in  type 
and  colouring,  and  may  be  called  the  last  of  that 
interesting  school.  S.  B. 

TISOIO,  Aktonio  da,  lived  in  Belluno  in  the 
16th  century,  and  is  the  author  of  a  mutilated 
altar-piece  in  the  church  of  Orzes,  representing  the 
'  Virgin  and  Child  between  SS.  John  the  Baptist, 
Andrew,  Sebastian,  and  Michael,'  signed  and  dated 
1512.  It  has  been  suggested  that  he  is  identical 
with  Antonio  da  Cesa.     Other  works  : 

Belluno.       Casa  Pagani.     Virgin  and  Child. 

„  Conte  At/osti.     Three  Fragments,  each  with  an 

Angel  upon  it. 

TISSIER,  Jean  Baptiste  Ange,  a  French  por- 
trait and  historical  painter,  was  horn  in  Paris  in 
1814.  He  studied  in  the  Ecole  des  Beaux  Arts, 
under  Ary  Scheifer  and  Paul  Delaroche.  His  works 
appeared  at  the  Salon  from  1838  to  1876.  He  died 
in  Paris  in  the  latter  year.  Several  of  his  portraits 
are  at  Versailles,  notably  one  of  Abd-el-Kader. 

TISSOT,  Am^d^e  Anoelot,  a  French  landscape 
painter,  who  exhibited  water-colour  views  at  the 
Salon  between  1835—1845.     He  died  in  1867. 

TISSOT,  James  Jusei'U  Jaques.  was  bom  at 
Nantes  in  1830,  and  was  the  pupil  of  Lamotte. 


PAINTERS  AND  ENGRAVERS, 


He  made  hie  ddbut  at  the  Salon  in  1859  with  four 
figures  of  saints,  designs  for  a  stained-ghiss  window 
to  the  memory  of  liis  parents  in  a  church  in  his 
native  town.     In  1861  he  exliibited  at  the  Salon 
his  'Meetinf,' between  Faust  and  Marguerite,'  which 
was   bought   by   the   French   Government.     This 
fine  worli   was   succeeded    by  paintings   of  con- 
temporary subjects,  chiefly  groups  of  typical  French 
women,   amongst    which    those    known    as    '  La 
Fenime  ^  Paris '  were  specially  admired  for  their 
skilful   draughtsmanship.      Of  a  genial  tempera- 
ment,   James   Tissot   was   for   many   years   very 
popular  in  the  art  world  of  Paris,  but  after  the 
Franco-German  War,  in  which  he  fought  bravely, 
he  went  to  London,  where  he  took  up  his  residence 
in  St.  John's  Wood.   Whilst  in  England  he  painted 
many  clever  genre  pictures,  some  of  which  won 
him  the  commendation  of  Ruskin,  who  admired 
their  dexterity,  brilliancy,  and  conscientiousness, 
but  deprecated  what  he  called  their  vulgarity  of 
subject.     During  his  stay  in  London,  Tissot  also 
worked  at  etching  in  the  studio  of  Sir  Seymour 
Haden,  and  some  of  his  dry-points,  notably  the 
'  Mavourneen,'  '  La  Fileuse,'  and  '  Sur  la  Tamise,' 
shown  at  the    International    Exhibition   in    1889, 
were  much  admired  by  experts.     In  the  midst  of 
his  successful  career  an  extraordinary  change,  the 
result,  it  is  supposed,  of  some  great  sorrow,  came 
over  the  character  and  aims  of  the  French  painter. 
He   resolved  to  give  up  everj-thing  and    devote 
himself  to  illustrating  the   Life  of  Christ.     The 
keynote  of  this  new  departure  seems  to  have  been 
struck  in  a  large  oil-painting  called  '  Tlie  Inward 
Voices,'  representing   Jesus  appearing  to   a  poor 
man  and  woman,  which  the  artist  showed  to  a  few 
intimate  friends  oidy,  before  he  started  for  Pales- 
tine to  prepare  for  his  great  task.     Ten  years  of 
hard  work  in  the  Holy  Land  resulted  in  the  pro- 
duction   of  350    water-colour   drawings   of  New 
Testament  incidents,  which  were  exhibited  with 
the  oil-painting  of  the  '  Inward  Voices '  in  Paris 
in  1896,  and  in  London  in  1896,  exciting  a  great 
variety  of  criticism,  some    admiring   their   vivid 
realism   and   the   erudition    they   display,   others 
animadverting  on  their  want  of  spiritual  insight  and 
their   crudity  of  colouring.     These  water-colours 
were   all  reproduced  in   two   costly   volumes   by 
MM.  Lemercier,  of  Paris — who  paid  their  author 
1,000,000  francs  for  the  right  of  using  them — and 
by  Messrs.  Sampson  Low,  of  London,  Tissot  sup- 
plementing the  passages  of  the  New  Testament 
they   illustrate   with   copious    notes.      After    the 
publication  of  the  book  the  artist  withdrew  to  the 
Abbey  of  Bouillon,  in  the  department  of  Doubs, 
to  work  on  a  similar  series  of  drawings  of  Old 
Testament  subjects,  which  was  still  uncompleted 
when  he  died  on  August  8,  1902.  N.  B. 

TITIAN,  (Vecelli,  Tiziano,)  the  greatest  painter 
of  the  Venetian  School,  was  born  at  Pieve,  in  Cadore, 
a  mountainous  district  of  the  Venetian  or  Carnic 
Alps.  He  was  the  son  of  Gregorio  di  Conte 
Vecelli,  a  member  of  an  old  family  in  Cadore,  and 
though  not  rich  himself,  a  man  of  some  note  in  his 
province.  Titian  was  one  of  four  children,  one 
brother  Francesco  becoming  also  a  painter  of  note. 
The  date  of  his  birth  has  been  usually  fixed  in 
1477,  but  recent  investigations  tend  to  show  that 
a  much  later  date,  1489,  is  to  be  preferred.  Show- 
ing an  early  disposition  towards  art,  the  young 
Titian  was  not  brought  up  to  law  or  to  arms  like 
the  rest  of  his  race,  but  was  sent  at  an  early  age 
to  Venice  to  learn  painting.     According  to  Dolce's 


statement,  which  there  is  no  reason  to  doubt,  he 
was  first  placed  with  Sebastiano  Zuccato,  a  Vene- 
tian raosaicist,  from  whose  school  he  appears  to 
have  quickly  passed  into  that  of  the  Bellini,  who 
were    considered   the    chief    masters   at   Venice. 
Dolce  affirms  that  he  first  worked  with  Gentile, 
the  elder  brother,  who  disap-j^  roved  of  his  bold  and 
rapid  style  of  drawing.     This  led  him  to  seek  the 
workshop  of  Giovanni ;  but  after  a  time  he  attached 
himself  to  Giorgione,  who  was  then  the  rising  artist 
of  the  younger  generation  at  Venice.    Titian  seems 
about  this  time  (1505)  to  have  worked  steadily 
under  his   new  master,  who  was  probably  some 
twelve  years  his  senior,  but  the  exact  facts  of  their 
intercourse  are  not  clearly  established  until  1507- 
1508,   when   we  find   them  working  together  as 
master  and  pupil  on  the   decoration  of  the  new 
Fondaco  dei  Tedeschi,  or  House  of  Exchange  for 
the  German  merchants  at  Venice,  which  had  just 
been  rebuilt.    Here,  among  other  works,  he  painted 
in   fresco,  above  the   gateway,  a  large  figure  of 
Judith,  Justice,  or  Germania  (for  it  has  been  called 
by  all  three  names),  which  is  spoken  of  by  early 
critics  as  a  remarkable  work,  but  of  which  scarcely 
a    trace    now    remains.     Probably   Titian's    first 
independent  employment  at  Venice  was  as  a  house- 
painter,  not  in  the  sense  in  which  we  now  use  that 
term,  but  as  it  was  understood  at  a  time  when  the 
great  nobles  were  accustomed  to  adorn  the  outside 
of  their  palaces  with  frescoes.     One  of  the  earliest 
references  to  Titian's  name  in  contemporary  writ- 
ings connects  it  with  a  work  of  this  kind,  a  fresco 
of  '  Hercules,'  mentioned  by  Sansovino  as  painted 
outside   the   Morosini   Palace,    but   no   longer  in 
existence.     Down  to  1511,  when  we  come  upon  a 
document  proving  his  presence  at  Padua,  we  may 
suppose  Titian   to  have  been  busily  at  work   at 
Venice,  and  after  Giorgione' s  death  in  1510  to  have 
succeeded   to   the   hitter's   practice   and   to   have 
carried  on  his  master's  style.     Certain  is  it  that 
many  of  the  so-called  Giorgionesque  Titians  must 
date  from  this  period,  pre-eminent  among  which 
is  the  allegorical  composition  usually  called  '  The 
Sacred  and  Profane  Love,'  in  the  Borghese  Gallery 
at  Rome.     In  this  great  painting,  whatever  it  may 
be  meant  to  signify,  Titian's  powers  as  a  colourist 
are  strikingly  shown,  and  indeed  we  may  reckon 
the  picture  among  the  world's  masterpieces.     So 
ma!iy  and  so  ditferent  are  the  works  assigned  by 
tradition  to  this  early  period  of  Titian's  career  (i.  e. 
down  to  1511),  that  the  utmost  confusion  exists  in 
the  biographies  of  the  master  as  to  the  relative 
order  of  production  of  these  pieces,  in  some  of 
which  at  all  events  it  seems  probable  that  Giorgione 
had  a  share. 

Amongst  these  works  we  may  cite  the  so- 
called  'BafFo'  picture  at  Antwerp,  the  'St.  Mark' 
in  the  Salute  at  Venice,  the  '  Three  Ages' in  the 
Bridgewater  Gallery,  the  '  Madonna  of  the  Cherries' 
at  Vienna,  the  '  Daughter  of  Herodias'  in  the 
Doria  Gallery  at  Rome,  and  the  'Noli  me  Tangere' 
in  the  National  Gallery.  The  frescoes  in  the 
Scuola  del  Santo  at  Padua,  which  we  know  defi- 
nitely date  from  the  close  of  1611,  prove  con- 
clusively the  depend 'nee  of  Titian  on  Giorgione, 
and  there  is  other  historical  evidence  to  show  that 
some  of  the  latter's  pictures  were  completed  by 
the  young  Titian  after  the  sudden  and  early  death 
of  Giorgione  by  the  plague  in  1510.  The  Dresden 
'  Venus  '  is  the  typical  instance  of  this  collaboration. 
The  earliest  perfectly  independent  work  of  which 
we   have  contemporary  record   is   the  celebrated 

187 


A   BIOGRAPHICAL  DICTIONARY  OF 


'Assunta,'  now  in  the  Academy  at  Venice,  which 
was  commissioned  in  1516,  and  finished  in  1518, 
and  we  have  the  two  allegories,  also  dating 
from  these  years,  which  were  painted  for  the  Duke 
of  Ferrara.  These  are  the  famous  '  Worship  of 
Venus  '  and  the  '  Bacchanal,'  both  now  at  Madrid. 
Some  time  before  this,  however,  Titian  had  painted 
for  the  Duke  the  so-called  'Cristo  della  Moneta ' 
of  the  Dresden  Gallery,  which  is  spoken  of  by 
Vasari  as  something  "  stupendous  and  miraculous," 
and  several  '  Sante  Conversazioni'  pieces  must  also 
date  from  this  period.  In  the  year  1513  we  get 
an  insiglit  into  Titian's  character  by  a  letter  still 
extant  in  which  he  offers  himself  to  the  Doge  and 
Council  of  Venice  to  paint  in  the  Hall  of  the  Great 
Council,  in  the  Ducal  Palace : — "  I,  Titian  of 
Cadore,"  the  letter  begins,  "having  studied  painting 
from  childhood  upwards,  and  desirous  of  fame 
rather  than  profit,  wish  to  serve  the  Doge  and 
Signori,  rather  than  His  Highness  the  Pope  and 
other  Signori  who  in  past  days  and  even  now  have 
urgently  asked  to  employ  me."  He  then  begs  to 
be  employed  "on  the  canvas  of  the  battle,  which 
is  so  ditficult  that  no  one  as  yet  has  had  the  courage 
to  attempt  it,"  and  asks  for  "  the  first  broker's 
patent  for  life  that  shall  be  vacant"  in  payment. 
This  request  was  granted,  but  it  led  to  so  much 
opposition  on  the  part  of  Giovanni  Bellini  that  the 
Council  had  to  revoke  its  decree,  and  Titian  did 
not  get  his  patent  (a  sort  of  sinecure,  or  retaining 
fee  given  to  the  best  artist  of  the  time  in  con- 
.sideration  of  doins^  certain  work)  until  after  Bel- 
lini's death  in  1516.  Before  this,  however,  he  had 
already  begun  painting  in  the  Hall  of  Council,  but 
he  could  not  for  many  years  be  got  to  finish  the 
great  battle-piece  he  had  undertaken,  and  his 
delays  led  to  much  dissatisfaction  on  the  p:irt  of 
the  Council,  and  even  from  time  to  time  to  the 
revocation  of  his  patent. 

Much  has  been  written  concerning  the  inter- 
course of  Titian  with  Alfonso,  Duke  of  Ferrara, 
and  the  friendship  he  formed  with  Ariosto,  whom 
he  met  at  that  Prince's  brilliant  court.  His  first 
recorded  journey  to  Ferrara  was  made  in  February 
1516,  when  he  lodged  with  two  assistants  in  the 
Castello  of  Ferrara,  receiving  weekly  rations  of 
"  salad,  salt  meat,  oil,  chestnuts,  tallow  candles, 
oranges,  cheese,  and  five  measures  of  wine." 
It  was  at  this  time  that  he  probably  completed 
Bellini's  celebrated  '  Bacchanal,'  now  at  Alnwick, 
following  up  this  work  by  the  two  allegories 
already  mentioned,  the  '  Worship  of  Venus '  and 
the  '  Bacchanal,'  both  at  Madrid.  He  painted, 
moreover,  the  portraits  of  Alfonso  and  his  wife, 
Lucrezia  Borgia,  now  lost,  and  tliat  of  the  Duke's 
mistress,  the  beautiful  Laura  Dianti,  known  to  us 
by  several  old  copies,  the  best  of  which  is  in  Sir 
Frederick  Cook's  Collection  at  Richmond.  He  was 
backwards  and  forwards  a  good  deal  during  these 
years  between  Venice  and  Ferrara,  completing 
probably  in  1523  the  finest  of  the  paintings  that 
he  produced  for  Alfonso,  the  '  Bacchus  and  Ariadne,' 
now  the  pride  of  our  National  Gallery.  From 
this  year  onward  Titian's  career  is  a  succession  of 
triumphs.  Federigo  Gonzaga,  Marquess,  and  after- 
wards Duke,  of  Mantua,  became  Titian's  noble 
patron,  and  numerous  letters  have  been  found  in  the 
Mantuan  archives  that  passed  between  the  painter 
and  this  Prince,  all  tending  to  show  the  high 
esteem  in  which  he  was  held  by  his  contemporaries. 
No  painter  indeed  was  ever  more  favoured  by  the 
great  than  Titian,  and  soon  he  cumbered  kings, 

188 


popes  and  emperors  among  his  employers  and 
correspondents.  Of  Titian's  domestic  life  not 
much  is  known.  His  wife,  Cecilia,  whom  he  had 
married  in  1525,  died  in  1530,  after  having  borne 
him  four  children — his  scapegrace  son,  Popomio, 
who  took  priest's  orders,  and  for  whom  he  was 
always  seeking  benefices  ;  Orazio,  who  followed 
his  father's  profession ;  a  daughter  who  died  young ; 
and  another  one,La  vinia,  whom  he  has  immortalized. 

In  1531,  the  year  after  his  wife's  death,  Titian 
left  the  house  in  the  San  Samuele  quarter  in  Venice, 
where  he  had  resided  since  1516,  and  took  another 
in  the  ijorth-eastem  suburb  of  Bin,  where  his 
children  were  brought  up  under  the  care  of  his 
sister.  The  charms  of  Titian's  house  and  garden 
at  Biri,  and  of  the  society  which  assembled  there, 
are  revealed  to  us  in  a  letter  appended  by  the 
Latinist  Priscianese  to  the  first  edition  of  his 
Grammar,  published  in  1540.  In  this  letter  he 
describes  an  entertainment  in  Titian's  garden  at 
which  he  met  the  architect  Sansovino,  Jacobo 
Nardi,  the  historian  of  Florence,  and  Pietro  Are- 
tino,  who  was  one  of  Titian's  most  intimate  friends. 
Many  other  distinguished  visitors  were  received  by 
Titian ;  but  very  often  his  profession  called  him 
away  from  Venice,  and  we  find  him  at  one  time  at 
Ferrara,  at  another  at  Mantua,  and  afterwards  travel- 
ling in  the  interests  of  his  noble  patrons  to  Bologna, 
Augsburg,  Milan,  and  other  places.  The  year  1530 
is  the  date  assigned  by  Vasari  for  Titian's  first  meet- 
ing with  the  Emperor  Charles  V.  He  affirms  that 
Titian  was  sent  for  after  the  Emperor's  coronation  to 
Bologna,  and  there  painted  such  a  magnificent  por- 
trait of  his  Majesty  in  complete  armour,  that  he  was 
presented  with  a  thousand  soudi  for  the  same,  of 
which,  however,  he  had  subsequently  to  refund 
lialf  to  Alfonso  Lombard!  the  sculptor.  But  much 
doubt  is  thrown  on  this  story  by  Crowe  and  Caval- 
caselle,  who  find  that  its  statements  are  not  proved 
by  authentic  records.  It  seems,  indeed,  more 
probable  that  it  was  during  the  Emperor's  second 
visit  to  Bologna  in  1633  that  he  first  sat  to  Titian 
for  his  portrait.  Vasari  likewise  states  that  the 
Emperor  was  so  pleased  with  Titian's  likeness  of 
him  that  he  would  never  afterwards  sit  to  any 
other  master;  but  this  again  is  doubtful.  It  is 
certain,  however,  that  Titian  received  high  honour 
at  the  Imperial  Court,  where  he  painted  not  only 
the  Emperor  himself  many  times,  but  also  most  of 
the  great  lords,  ministers,  and  agents  who  sur- 
rounded him,  receiving  in  return,  besides  a  liberal 
number  of  gold  scudi,  other  payment  in  the  shape 
of  grants  and  patents.  By  one  of  these  he  was 
created  a  Count  Palatine  of  the  Empire,  with  the 
power  of  appointing  notaries  and  ordinary  judges, 
and  of  legitimizing  the  illegitimate  offspring  of 
persons  below  the  rank  of  prince,  count,  or  baron. 
He  was  likewise  made  a  Knight  of  the  Golden 
Spur  with  all  its  privileges,  one  of  which  was  the 
right  of  entrance  to  the  Imperial  Court  at  any  time. 

In  1536  Titian  was  with  the  Emperor  again,  both 
at  Mantua  and  Asti.  At  this  time  he  obtained  a 
grant  of  a  pension  on  the  treasury  of  Naples  from 
the  Emperor,  which,  however,  was  not  paid  for 
many  years,  although  he  "  bombarded  the  treasury 
with  letters,"  and  Aretino  in  his  name  "  moved 
heaven  and  earth  "  for  the  same  purpose.  Much 
of  Titian's  work  seems  to  have  been  paid  for  by 
his  patrons  in  this  unsatisfactory  manner,  giving 
rise  to  many  heartburnings  and  disappointments, 
as  is  well  seen  in  his  letters,  most  of  which  have 
reference  to  these  business  details. 


VECELLI  TIZIAXO 

CAl.IEU 

TITIAN 


Hanfildngl  pholo\ 


[Al/horp  Collection 


THE  OLD  COKNAIO 


PAINTERS  AND   ENGRAVERS. 


On  Titian's  return  to  Venice,  after  his  second 
visit  to  the  Emperor,  he  found  a  rival  in  the  field. 
Although  his  city  was  doubtless  proud  of  his  suc- 
cesses, it  could  scarcely  brook  his  continual  neglect 
of  the  work  he  had  undertaken.  The  great  battle- 
piece  that  he  had  promised  was  not  yet  accom- 
plished, although  Titian  had  held  the  office,  and 
drawn  the  salary  of  the  Senseria,  ever  since  1516. 
Accordingly,  by  a  severe  decree,  dated  1537,  he 
was  called  upon  to  refund  all  he  had  received 
during  the  time  in  which  he  had  done  no  work, 
and  there  seemed  every  chance  that  Pordenone, 
who  had  already  painted  in  the  Public  Library, 
would  be  installed  in  his  place.  This  severity 
seems  to  have  brought  Titian  to  a  sense  of  his 
obligations,  and  he  immediately  "threw  upon 
canvas "  liis  magnificent  representation  of  the 
'  Battle  of  Cadore,'  which  unfortunately  perished 
by  fire  in  1577,  and  is  now  only  known  to  us  at 
second  hand. 

In  1541  Titian  was  again  with  the  Emperor  at 
Milan,  but  seems  to  have  returned  quickly  to 
Venice,  where  he  entered  upon  many  new  engage- 
ments. In  the  early  letter  to  the  Council  which  has 
been  quoted,  he  alludes  to  having  been  "  urgently 
asked  "  to  work  for  the  Pope.  He  received,  indeed, 
several  invitations  to  Rome,  but  he  does  not  appear 
to  have  gone  there  until  1545,  when  he  was  received 
with  great  distinction  by  Paul  III.,  by  Cardinal 
Farnese,  who  had  been  for  some  time  trying  to  lure 
him  to  the  Holy  City,  and  by  his  learned  friend 
Cardinal  Bembo.  Rooms  were  assigned  him  in 
the  Belvedere,  that  he  might  have  easy  access  to 
the  Farnese  family,  upon  whose  portraits  he  was 
engaged  ;  and  Vasari,  whose  acquaintance  he  had 
before  made  in  Venice,  undertook  to  show  him  the 
Bights  of  the  city.  He  likewise  at  this  time  made 
the  acquaintance  of  Michelangelo,  whose  opinion 
of  his  work  Vasari  has  reported.  Titian's  portraits 
of  Paul  III.,  of  Cardinal  Farnese,  and  of  the  Duke 
Ottavio,  the  Pope's  grandson,  were  executed  during 
this  visit  to  Rome,  as  well  as  other  portraits,  and 
his  'Danae,'  now  in  the  Naples  Museum. 

In  the  winter  of  1548,  we  find  Titian  undertaking 
a  long  and  fatiguing  journey  across  the  Alps,  in 
order  to  join  Charles  V.  at  Augsburg.  Aretino, 
in  one  of  his  letters,  has  described  the  scene 
that  took  place  in  Venice  when  he  was  about  to 
depart ;  how  every  one  tried  to  gain  possession 
of  some  small  work  of  his,  thinking  that  hence- 
forth he  would  not  deign  to  paint  for  any  one  but 
the  Emperor.  That  Titian's  powers,  in  spite  of 
his  age,  were  in  full  vigour  at  this  time,  is  shown 
by  the  amount  of  work  he  accomplished.  His 
industry  indeed  to  the  very  last  is  perfectly 
amazing.  At  this  time,  in  Augsburg,  he  not  only 
painted  the  fine  portrait  of  Charles  V.  on  the  field 
of  Muhlberg,  now  in  the  Madrid  Museum,  but  like- 
wise portraits  of  King  Ferdinand,  his  five  daughters 
and  two  sons,  Mary  of  Hungary,  John  Frederick  the 
Elector  of  Saxony,  the  Emperor's  noble  prisoner, 
Maurice  of  Saxony,  and  most  of  the  other  noble  and 
princely  personages  who  were  then  at  the  Imperial 
court.  The  German  master,  Lucas  Cranach,  who 
had  accompanied  the  Elector  into  captivity,  was 
also  at  Augsburg,  and  drew  Titian's  portrait.  But 
probably  the  chief  object  of  Titian's  call  to  Augs- 
burg was  to  paint  the  portrait  of  the  morose  Prince 
who  won  the  heart  of  Mary  Tudor.  Titian's  portraits 
of  Philip  of  Spain  are  well  known,  for  they  exist  in 
many  replicas,  but  the  one  executed  at  this  time  is, 
according  to  Crowe  and  Cavalcaselle,  the  large  full- 


length  in  the  Madrid  Gallery,  the  original  sketch  for 
which  was  once  in  the  Barbarigo  Collection  at 
Padua.  A  number  of  letters  have  been  found  in 
the  Simancas  archives  that  passed  between  Titian 
and  Philip  II.,  most  of  them  relating  to  commis- 
sions executed  for  that  monarch,  for  whom,  besides 
portraits,  Titian  painted  several  religious  and 
mythological  subjects.  Spain,  indeed,  in  the  latter 
part  of  his  life,  received  the  greater  number  of  his 
works.  Titian's  splendid  vigour  of  constitution 
and  indomitable  energy  seem  never  to  have  failed, 
and  not  even  in  the  last  years  of  his  life  can  we 
see  any  signs  of  decay  in  his  art.  Vasari  found 
ihim  in  1566  with  the  brushes  still  in  his  hand,  and 
even  in  1574  he  was  able  to  receive  a  royal  visitor 
— Henry  III.  of  France — with  his  wonted  magnifi- 
cence. It  was  not,  indeed,  until  1576,  that  this 
prince  of  painters,  who  had  "never  received  from 
heaven  anything  but  favour  and  felicity"  (so  far 
at  least  as  Vasari  knew),  succumbed  at  last  to  the 
terrible  plague  which  desolated  Venice  in  that 
year,  and  which  carried  ofE  also  his  painter-son 
Orazio  within  the  course  of  a  few  days.  The  law 
by  which  the  churches  at  Venice  were  closed  to 
the  plague-stricken  was  set  aside  in  Titian's  case, 
and  he  was  honourably  buried  in  the  church  of 
the  Frari,  for  which  he  had  painted  his  great 
'Assumption,'  and  his  beautiful  votive  altar-piece, 
the  '  Madonna  di  Casa  Pesaro.' 

Of  Titian's  art  it  may  be  said  that  it  reaches 
<he  highest  perfection  of  sensuous  beauty.  As  a 
colourist  he  stands  perhaps  unrivalled  ;  but  we  miss 
in  his  works  that  spiritual  loveliness  which  moves 
the  heart  more  than  the  senses  in  the  works  of 
several  other  Italians.  "  The  Venetian  mind,  and 
Titian's  especially  as  the  central  type  of  it,  was 
wholly  realist,  universal,  and  manly,"  writes  Ruskin. 
In  truth  the  asceticism  of  the  early  religious  painters 
had  no  hold  over  the  Venetians  of  the  16th  century, 
who  strove  like  the  Greek  artists  before  them  to 
represent  human  life  in  its  full  enjoyment  and 
animal  perfection.  No  one  has  ever  done  this 
more  splendidly  than  Titian.  His  method  and  the 
secret  of  his  colour  have  been  eagerly  sought  after 
by  succeeding  artists,  though  he  himself  was  wont 
to  declare  that  his  secret  only  consisted  of  "black, 
red,  and  white,  and  all  three  well  in  hand."  As 
a  portrait  painter  Titian  is  generally  admitted 
to  hold  the  first  rank.  "Titian,"  says  Kugler, 
"  may  be  considered  the  finest  portrait  painter  of 
all  times.  He  was  not  content  with  giving  his 
subjects  all  that  was  grand  in  style,  he  also  gave 
them  the  appearance  of  dignified  ease.  He  seems 
to  have  taken  them  at  the  happiest  moment,  and 
thus  left  us  the  true  conception  of  the  old  Venetian, 
by  the  side  of  whom  all  modern  gentlemen  look 
poor  and  small."  His  female  portraits,  too,  have 
a  wonderful  charm.  No  estimate  of  Titian's  art 
would  be  sufficient  without  mentioning  the  sur- 
passing beauty  of  his  landscape  backgrounds.  The 
first  picture,  claiming  to  be  nothing  but  a  land- 
scape, mentioned  in  the  annals  of  Italian  painting, 
is  one  by  Titian,  which  is  spoken  of  by  Ridolfi  as 
'  A  Landscape  with  Soldiers  and  Animals,'  in  the 
collection  of  Paolo  del  Sera.  The  background  in  the 
now  destroyed  '  S.  Peter  Martyr,'  added  enormously 
to  its  eifect,  and  in  many  of  his  lighter  subjects,  we 
find  the  same  chaiTn  of  harmonious  and  poetic  land- 
scape. Titian  is  said  to  have  engraved  himself,  both 
on  copper  and  wood,  but  it  is  more  probable  that  he 
employed  engravers  to  execute  his  designs.  Under 
the  title  of  '  The  Triumph  of  Faith,'  he  published 

189 


A  BIOGRAPHICAL  DICTIONARY  OF 


a  seriee  of  rough  but  powerful  woodcuts,  Boniewliat 
in  the  manner  of  Mantegnu,  representing  a  religious 
triumph.     Works : 


Alnwick. 
Ancona. 

n 

Antwerp. 

Ascoli. 
Berlin. 


Gallery. 

S.  Domenico. 
Gallery. 

Gallery. 
Gallery. 


Bellini's  *  Feast  of  the  Gods.' 

{Finished  by  Titian.) 
Crucifiiion. 
Altar-piece.     1520. 
Alexander      VI .      presenting 

Baffo  to  St.  Peter. 
St.  Francis  receiving  Stigmata. 
Daughter  of  Roberto  Strozzi. 
Portrait  of  Jiimself. 
Portrait  of  Lavinia. 
Portrait  of  Granvella. 


MilaD. 

Brera. 

Antonio  Porcia. 

Munich. 

Gallery. 
It 

Charles  V.      1548. 

Madonna. 

Christ  crowned  with  Thoma. 

Naples. 

Gallery. 

Philip  II. 

If 

ft 

Paul  III.  with  his  Nephews. 

°  I  EuTopa. 


Vffizi. 


London.      Nat.  Gallery. 


,  Sridgewater  House. 


Besan^on.  Gallery. 

Boston,      Mrs.  Gardner 

U.S.A. 
Brescia.         iS5.  !Va!!aro  )  a  itar-nippp     1 199 

Dresden.  Gallery.  Madonna  and  Saints. 

,,  „  Tribute  Money. 

„  „  Lavinia  as  Bride.     1555. 

ff  „  Lavinia  as  Matron. 

,,  „  Portrait  of  a  man. 

„  ,,  Lady  in  red  dress. 

Florence.  Pitti.  '  La  Bella.' 

„  „  Pietro  Aretino.     1545. 

„  „  M:igdalen. 

„  „  '  The  young  Englishman.* 

t,      Philip  n. 

„  „        Ippohto  de'  Medici.     1533. 

„  „        Tommaso  Mosti. 

„  „         Head  of  Christ. 

Duchess  of  Urbino.    1537. 

Duke  of  Urbino.    1637. 

Flora. 

Madonna,  with  St.  Antony. 

Venus,  with  Cupid. 

Venus  (of  the  Tribuna). 

Beccadelli.   1552. 

Holy  Family  and  Shepherd. 

Bacchus  and  Ariadne.    1523. 

'  Noli  me  Tangere. ' 

Madonna,  with   St.  John  and 
St.  Catherine. 

'  The  Three  Ages.' 

Venus  Anadyomene. 
„  „  Diana  and  Actaeon.     1559. 

„  „  Diana  and  Callisto.     1559. 

„        Hertford  House.     Perseus  and  Andromeda. 

"       JVorthuJertf.}  '^^'^  Comaro  Family. 
„  D.  Mond.     Madonna. 

„  Mr.  Wernher.     Portrait  of  Giacomo  Doria. 

Madrid.  Prado.     Bacchanal.     1516-18. 

Venus  Worship.     1516-18, 
Alfonso  d'Este  (?).     1518. 
Charles  V.     1533. 
Philip  II.     1550. 
Venus  and  Adonis. 
The  Forbidden  Fruit. 
Charles     V.     on     Horseback. 

1548. 
Danae.     1554. 
Venus  and  Youth  at  Organ. 
Salome  (Lavinia). 
'La  Gloria.'     1554. 
Eutombraent.     1559. 
Sisyphus. 
Prometheus. 
St.  Margaret. 
'  Ecce  Homo.' 
*  Mater  Dolorosa.* 
Allegory  of  Battle  of  Lepanto. 
Allocution  of  Alfonsod'Avalos. 

1541. 
Religion  succoured  by  Spain. 
Portrait  of  Himself. 
Isabella  of  Portugal. 
Maniago.  Gallery.     Portraits  of  Irene  and  Emilia 

Spilimberg. 
Medole.  Dumno.     Altar-piece. 

Milan.  Brera.     St.  Jerome. 

190 


New  York.  Metro.  Mus. 


Padua. 
Paris. 


Gallery. 
Louvre. 


Petersburg.    Hermitage. 
«  »» 

Rome.      Villa  Borghese. 


f,  Capitol. 

„  Vatican. 

Rerravalle.  Duamo. 

Trent.  Private  Coll. 


Treviso. 
Urbino. 

Venice. 


Verona. 
Vienna. 


Duomo. 
Gallery. 

Academy. 


Frari. 

Gesuiti. 

S.  Giov. 

Elemosinario. 

S.  Lio. 

S.  Marciiola. 

S,  Maria  della 

Salute. 


S.  Marziale. 

S.  Salvatori. 

»• 

S.  Sehastiano. 

Pahizzo  Reale. 

Doges  Palace. 

ji 

Scuola  di  San  ] 
Rocco.  J 
I)uo7no. 
Gallery. 


Czernin  Gallery. 


1545. 

Dauae. 

Paul  HI. 

So-called  Giorgio  Cornaro  (ex 

Castle  Howard). 
Scuola      del      Santo      {three 

frescoes).     1511. 
Madonna  with  Saints. 
'  Vierge  au  Lapin.' 
Christ  at  Emmaus. 
Madonna  with  St.  Agnea. 
Crowning  with  Thorns. 
Entombment. 
St.  Jerome. 

*  Venus  del  Pardo.* 
Francis  I. 
Allegory  of  d'Avalos, 

*  L'homme  au  Gant.' 
Portrait  of  a  Man. 

*  Laura  de'  Dianti.' 
The  Magdalen. 
Toilette  of  Venus, 
Paul  in. 

*  Sacred  and  Profane  Ivove.* 
St.  Dominic. 
Education  of  Cupid. 
Baptism  of  Christ. 
Madonna  and  six  Saints.  1523. 
Altar-piece.     1547. 
Portrait   of   Christoforo    Ma- 

druzzo. 
Annunciation. 
Resurrection. 
Last  Supper. 
Assumption.     1518. 
John  the  Baptist. 
Presentation    of    the    Virgin. 

1540. 
Pieti.      1573.     {Finished    by 

Palma  Giovane.) 
Pesaro  Madonna.     1526. 
Martyrdom  of  St.  Lawrence. 

I  St.  John,    1533, 

St.  James. 

Christ  Child,  and  Saints. 

I  St.  Mark  Enthroned. 

Descent  of  Holy  Spirit. 
Medallions  in  Roof  of  Choir, 
Three  Ceiling  Pieces. 
Tobias  and  Angel. 
Annunciation. 
Transfiguratifm. 
S.  Nicolas  of  Ban. 
Ceiling  Painting  of  *  "Wisdom.* 
St.  Christopher.     1523. 
Doge  Grimani  before  '  Faith.' 
1555. 

Annunciation. 

Assumption  of  the  Virgin. 
'  Madonna  of  the  Cherries.' 
'  Little  Tambourine  Player.' 
Li'irge  *Ecce  Homo.'     1543. 
Isabella  d'Este.     1534. 

*  Das  Madchen  in  Pelz.' 
Benedetto  Varchi. 

John    Frederick    of    Saxony, 

1548. 
Jacopo  di  Strada.     1566. 
Shepherd  and  Nymph. 
Portrait  of  Doge  Gritti. 


BIBLIOaRAPHT. 

Crowe  and  Cavalcaselle,  *  Titian.*    London,  1877. 
Gronau,  *  Tizian.'     Berlin,  1900. 


VECELLI  TIZIANO 


TITIAN 


Hanfslcingl photo]  [The  Accadcmia.  Venice 

THE  ASSUMPTION 


PAINTERS  AND   ENGRAVERS. 


Claude  Phillips, '  Thfi  Earlier  and  Later  Work  of  Titian.' 

Portfolio,  1897,  1898. 
Knackf  uss, '  Tizian. '     Leipzig,  1900. 
Lafeuestre, '  La  vie  et  TCEivre  de  Titien.'    Paris,  1888. 
Morelli,  '  Italian  Painters.'     1890,^assi»i. 
Burckliardt, '  Cicerone,'  passim. 

The  above  give  the  most  authentic  accounts  of 
the  life  of  the  painter.  The  older  authorities 
comprise  : 

Dolce,  '  L'ArBtino.'     1557. 
Vasari,  '  Lives.'     1568. 
Borchini,  '  Eiposc'     1581. 
Eidolfi.     1648. 
Tizianello,  *Aiionimo.'     1622. 

There  is  besides  a  vast  quantity  of  literature  on 
special  points  connected  with  his  life.  ]j_  c. 

TITO,  POMPILIO,  an  obscure  engraver,  who  was 
at  work  in  Rome  about  the  year  1685.  His  prints 
are  said  to  be  marked  with  the  initials  P.  T. 

TITO,  Santi  di,  painter,  bom  at  Borgo  S.  Sepol- 
cro,  in  the  Florentine  state,  October  6,  1536,  was 
first  a  disciple  of  Agiolo  Bronzino,  but,  according 
to  Baldinucci,  afterwards  became  a  scholar  of 
Baccio  Bandinelli.  lie  also  studied  bard  from 
the  antique  at  Rome,  and  from  the  works  of  the 
Roman  masters.  He  returned  to  Florence  a  correct 
draughtsman,  and  distinguished  himself  in  every- 
thing but  colour.  Vasari  says  he  finished  a  picture 
of  Sogliani's  for  S.  Domenico,  at  Fiesole  ;  also  that 
he  painted  in  the  Belvedere  of  the  Vatican,  and  on 
the  catafalque  of  Michelangelo.  He  excelled  in 
architectural  perspectives,  with  which  he  gave 
dignity  and  variety  to  his  compositions.  Among 
his  best  works  are  :  '  Christ  with  the  Disciples  at 
Emmaus,'  in  the  church  of  S.  Croce,  at  Florence ; 
the  '  Resurrection  of  Lazarus,'  in  the  cathedral  of 
Volterra  ;  the  '  Madonna,'  in  S.  Salvatore,  Florence  ; 
the  '  Burial  of  Christ,'  in  S.  Giuseppe  ;  a  '  Baptism 
of  Christ  by  St.  John,'  in  the  Corsini  palace, 
Florence  ;  as  well  as  portraits  in  the  Uflfizi  and  in 
the  Torrigiani  collection.  Santi  died  at  Florence, 
July  23,  1603. 

TITO,  TiBERio  DI,  (Valeric,)  the  son  of  Santi 
di  Tito,  was  born  at  Florence  in  1673,  and  in- 
structed by  his  father.  He  did  not,  however,  follow 
the  same  style,  but  devoted  himself  to  portrait 
painting,  which  he  practised  with  success.  He 
also  excelled  in  small  pencil  portraits,  on  which  he 
was  much  employed  by  Cardinal  Leopoldo  de' 
Medici.  A  considerable  collection  of  heads  drawn 
by  him  for  that  prince,  are  preserved  in  the  Floren- 
tine Gallery.     He  died  in  1627. 

TIVOLI,  Rosa  di.     See  Roos. 

TIZIANO.  Girolamo  di.     See  Dante. 

TKADLIK,  Fkaxz,  (Kadlik,)  burn  at  Prague 
in  1786,  was  destined  for  the  church,  and  became 
a  painter  late  in  life.  At  Prague  he  studied  under 
Bergler.  In  1817  he  entered  the  Vienna  Academy, 
and  in  1825  he  was  sent  to  Rome  as  a  pensioner 
of  the  Emperor.  On  his  return  to  Prague  he  be- 
came Director  of  the  School  of  Fine  Arts.  He 
died  at  Prague  in  1840. 

TOBAR,  Don  Alonso  Migdel  de,  an  historical 
painter,  and  copyist  of  Murillo,  was  born  at  Higuera, 
near  Aracena,  in  1678.  He  went  young  to  Seville, 
and  placed  himself  under  a  painter  of  very  little 
ability,  named  Juan  Antonio  Faxardo.  He  applied 
himself  to  copying  the  easel  pictures  of  Murillo,  and 
became  so  great  an  adept  that  many  passed  even  in 
his  own  time  as  originals.  In  the  church  of  St, 
Isidro,  at  Seville,  are  two  pictures,  one  representing 
'  The  Good  Shepherd,'  and  the  other, '  Theyoung  St. 


John,'  which  are  copies,  with  variations,  ot  tlie  two 
so  well  known  in  England,  the  latter  of  which  is  in 
the  National  Gallery.  In  1729,  Tobar  succeeded 
Teodoro  Ardemans  as  painter  to  Philip  V.,  and 
removed  to  Madrid,  where  he  painted  a  great  number 
of  portraits.  Of  his  own  creations,  the  best,  perhaps, 
are,  '  Our  Lady  of  Consolation,'  in  the  cathedral  ot 
Seville,  and  '  The  Divine  Shepherdess,'  in  the  Royal 
Collection,  Madrid.  Of  his  copies  after  Murillo,  the 
most  celebrated,  as  such,  is  one  in  the  church  of 
Santa  Maria  la  Blanca  de  Sevilla  ;  which  passed  for 
a  Murillo  till  the  original  was  discovered  in  the 
palace  at  Madrid.     Tobar  died  at  Madrid  in  1758. 

TOBIN,  J.,  an  obscure  English  engraver,  who, 
about  the  year  1770,  etched  several  landscapes  after 
H.  Grimm,  Both,  Ostade,  and  other  masters.  Some 
of  his  plates  were  printed  in  colours. 

TOCCAGNI.     See  Piazza,  Alhebtino. 

TOCQUE,  LoDis,  (Todcquet,)  a  painter,  born 
in  Paris  in  1696,  was  first  a  scholar  of  Nicolas 
Bertin,  and  afterwards  of  Hyacintli  Rigaud.  Tocqu^ 
devoted  himself  chiefly  to  portraits.  He  became 
a  member  of  the  Paris  Academy  in  1734.  He  was 
invited  by  the  Empress  Elizabeth  to  the  Russian 
court,  where  be  painted  the  portrait  of  that  princess, 
and  met  with  general  encouragement.  He  spent 
two  years  at  St.  Petersburg,  moving  thence  to 
Copenhagen,  where  he  painted  several  members  of 
the  Royal  Family  of  Denmark.  He  married  the 
daughter  of  the  painter  Nattier,  and  died  in  Paris, 
February  10,  1772.  The  following  examples  of  his 
art  are  in  public  galleries  : 

Amiens.  Museum.     Portrait  of  a  Young  Man, 

Bayeux.  „  Portrait    of    a    Lady   and  her 

Daughter. 
Marseilles.  „  Portrait  of  the  Comte  de  Saint 

Florentin. 
Nantes.  „  Portrait  of  a  Lady. 

Paris.  Louvre.     Portrait  of  Marie  Leczynska. 

„  „  Portrait  of  the  Dauphin  Louis, 

son  of  Louis  XV. 

„  „  Portrait  of  Mme.  de  GrafBgny. 

And   four  in  the  La  Caze  Col- 
lection. 
Versailles.       Mus.  Hist.     Portrait  of  the  Empress  Eliza- 
beth of  Russia. 
„  „  Portrait  of  the  Poet  Gresset. 

A  nd  three  others. 

TODD,  Henry  G.,  was  a  native  of  Ipswich,  and 
became  well  known  as  a  skilful  painter  of  still-life, 
particularly  of  flower  and  fruit-pieces.  He  ex- 
hibited at  the  Royal  Academy  in  1888,  and  more 
frequently  at  Suffolk  Street  and  other  Exhibitions. 
He  died  at  Ipswich  in  September  1898,  at  the  age 
of  51.  H.  H. 

TODT,  Max,  German  painter  ;  born  in  1847  at 
Paderborn  ;  studied  at  the  Diisseldorf  Academy, 
and  became  a  pupil  of  W.  Sohns  ;  in  1877  he 
settled  at  Munich  as  a  painter  of  genre,  pictures 
such  as  '  Liebelei,'  '  Stillvergniigt,'  and  '  Herzens- 
frage'  being  among  the  best  of  this  sort.  He 
died  at  Mimich,  May  7,  1890. 

TOEPUT,  L0DEWYK,(P0ZZ0,  P0ZZ0-SERRAT0,)wa8 

born  at  Mechlin  in  1550.  According  to  Descamps, 
he  went  at  an  early  period  of  his  life  to  Italy,  where 
he  passed  the  remainder  of  his  days.  He  won 
some  reputation  as  a  painter  of  landscapes,  fairs, 
and  markets.  He  also  had  some  repute  as  a  poet. 
He  chiefly  resided  atTrevigi,  in  the  Venetian  State, 
where  he  was  still  living  in  1604. 

TOFANELLI,  Stefano,  painter,  born  at  Lucca, 
in  1750,  was  a  pupil  of  Niccol6  Lapiccola  in  Rome. 
He  was  employed  by  the  first  engravers  of  the  day 
to  make  drawings  for  them,  and  among  other  things 

191 


A   BIOGRAPHICAL   DICTIONARY  OF 


drew  for  Volpato,  Raphael's  '  Parnassus,'  a  '  Sibyl 
and  two  Prophets,'  by  Michelangelo,  Guide  Reni's 
'Martyrdom,'  Guercino's  'Aurora'  and  'Day  and 
Night,'  and  a  Landscape  by  Claude  Lorraine  ;  for 
Morglien,  Poussin's '  Dance  of  the  Hours,"  Raphael's 
'Jurisprudence,'  'The  Transfiguration,'  and 'Miracle 
of  Bolsena;'  and  Murillo's  'Magdalene.'  He  also 
worked  for  Bettelini,  Fontana,  and  Folo,and  himself 
painted  altar-pieces,  portraits,  and  some  mythologi- 
cal scenes.  In  1781  he  opened  an  Art  School  in 
Rome,  but  he  afterwards  returned  to  Lucca,  and  m 
1802  became  Prof  essor  of  Drawing  at  the  University 
of  S.  Frediano.  He  died  at  Lucca  early  m  the 
19th  century. 

TOGNONE,  Antonio,  a  fresco  painter  of  Vicenza, 
who  was  instructed  by  Zelotti,  during  his  stay  in 
that  city  {circa  1580),  where  certain  frescoes  by 
Tognone  still  remain.  He  died  young  at  Vicenza. 
TOJETTI,  Vergilio,  Italian  painter  ;  born  in 
1849  at  Rome;  a  pupil  of  liis  father's,  and  sub- 
sequently studied  under  G^rorae  and  Bouguereau. 
In  1870  he  went  to  America  and  established  him- 
self in  New  York.  Among  his  works  we  may 
mention:  '  Fuori  del  Paradiso,'  'La  Favorita,' 
'  Piccolo  Aecidente,'  and  '  Tentazione.'  He  died  in 
New  York  in  April  1901. 

T'OL,  DoMiNicus  VAN,  was  born  at  Bodegrave, 
between  1631  and  1642.  He  was  the  nephew  and 
scholar  of  Gerard  Dou,  and  one  of  his  most  suc- 
cessful imitators.  Some  of  his  interiors  partake 
of  the  manner  of  Brekelenkam.  He  practised  for 
a  time  at  Amsterdam,  but  most  of  his  life  was 
passed  at  Leyden.  He  died  there  in  1676.  A 
David  and  a  Peter  van  Tol  have  been  mentioned, 
but  there  is  reason  to  believe  them  identical  with 
Dominicus.     Works: 

Amsterdam.  Rijks  )  ^^^  Mouse-trap. 

Museum,  y 
„  „  Portrait  of  Hendrick  Spiegel. 

„  „  A   Family   Scene   (copy    after 

Dou). 
Copenhagen.       Gallery.     A  Savant  in  his  Study. 
Dresden.  Oallery.     Au  Old  Man  eating  a  lierriug. 

„  „  An  Old  Woman  winding  yarn. 

Leyden.  Museum.     A  Woman  cooking  pancakes. 

London.  Bridgewat.  Gal.     An  Old  Man  reading. 

„  „  „       An  Old  Woman  with  a  Book. 

„  „  „       Woman  caressing  a  Dog. 

Petersburg.     Hermitcu/e.    The  Lace-maker. 
„  „  The  Bird's  Nest. 

TOL,  Nicolas,  son  of  James,  pupil  of  Cornelius 
van  Poelenburg,  joined  the  Guild  at  Utrecht  in 
1635. 
Vienna.      Liechteustein  )  j^jg^ent  of  Paris. 

Baroness  A.^t  g^,.^  ^j  jjiaoa.  „.  „  ,  .„ 

Stummer.  J  \V .  H.  J .  W . 

TOLEDO,  Joan  de,  a  Spanish  painter,  was  born 
at  Lnrca,  Murcia,  in  1611.  He  was  tlie  son  and 
pupil  of  Miguel  de  Toledo,  an  obscure  artist. 
According  to  Palomino,  he  went  to  Italy  when 
young,  and  studied  under  Anniello  Falcone  at 
Naples.  He  afterwards  went  to  Rome,  where 
he  became  the  disciple  and  friend  of  Michelangelo 
Cerquozzi,  called  delle  Battaglie.  On  his  return 
to  Spain  he  established  himself  at  Granada,  and 
acquired  a  distinguished  reputation  as  a  painter 
of  battles  and  sea-pieces,  and  also  of  history. 
There  are  several  of  his  works  in  the  churches  at 
Granada,  Talavera  de  la  Reyna,  Madrid,  and  Alcala 
de  Henares.  At  some  time  in  his  life  he  served 
in  the  army,  and  was  commonly  known  as  el 
eapitan.  He  died  in  1665. 
192 


TOLEDO,  Jdan  de,  a  pupil  of  Luis  Tristan, 
flourished  from  1641  to  1645,  and  painted  a  number 
of  pictures  in  the  cathedral  of  Toledo  ;  a  small 
'  Virgin,  Christ,  and  St.  John'  by  him  is  preserved 
in  the  sacristy  of  the  Capucliin  Church  at  Toledo. 

TOLENTINO,  Francesco  di,  a  painter  of  the 
16th  century,  who  worked  in  the  style  of  Pintur- 
ricchio.  He  was  probably  tlie  author  of  the  frescoes 
in  S.  M.  Nuova,  Naples,  from  the  life  of  Christ ; 
of  a  '  Pietk',  an  '  Adoration  of  the  Kings,'  eight 
scenes  from  the  life  of  St.  Barbara,  and  a  '  Virgin 
with  Saints  and  Angels '  in  the  cloister  church  of 
Liveri,  near  Nola. 

TOLMEZZO,  DoMENico,  and  Martino  di  Candido 
DA,  two  brothers,  who  worked  at  Udine  in  1479,  as 
painters  and  statuaries,  overlaying  their  figures 
with  feigned  draperies  in  paint.  Messrs.  Crowe  and 
Cavalcaselle  attribute  frescoes  in  the  following 
churches  to  Domenico:  Sant'  Antonio,  at  Mione ; 
Santa  Catarina,  at  Luint  ;  San  Vito,  at  Liaris ; 
San  Leonardo,  at  Osais  ;  San  Floriano,  at  Forni  di 
Sopra,  and  San  Leonardo,  at  Forni  di  Sotto.  A  more 
fully  authenticated  work  by  him  is  an  altar-piece 
in  the  Duomo  of  Udine — a  '  Madonna  with  Saints ' 
above,  and  an  'Entombed  Christ  with  Angels'  be- 
low— signed  '1479.  Opus  Dominici  de  Tumetio.' 

TOLMEZZO,  Giovanni  Francesco  da,  a  painter 
of  Udine,  was  the  son  of  one  Oderico  di  Daniele 
of  Saochieve.  He  flourished  towards  the  close  of 
the  15th  century,  and  though  not  related  in  any 
way  to  Domenico  da  Tolmezzo,  was  one  of  the 
journeymen  associated  with  him  in  the  carrying 
out  of  certain  frescoes  (see  preceding  article).  In 
1489  he  painted  the  frescoes  in  the  church  of  S. 
Antonio  at  Barbeano,  which  still  remain,  though 
much  damaged  in  parts  ;  in  1493,  those  in  San 
Martino  at  Sacchieve  ;  there  is  also  in  this  church 
an  altar-piece  representing  the  patron  saint  dividing 
his  cloak,  evidently  painted  by  the  same  hand.  At 
the  entrance  there  is  the  following  inscription  on  a 
pilaster :  Opera  di  Zuane  Francesco  de  Tolmezzo 
depentor  fu  de  M.  Duri,  Daniel  d.  Soclevo  de  la 
Ghaxada  de  queli  del  Zoto,  1493.  He  was  further 
the  author  of  frescoes,  now  partly  obliterated,  in 
the  church  of  Provesano.  A  picture  on  panel  of  a 
'Virgin  and  Child  with  Angels,'  is  also  known  as 
his  work,  and  is  in  the  possession  of  Signor  C. 
Astori  at  Udine. 

TOLOSANO.  See  Baron,  Jean. 
TOMASI,  NiccoLA,  called  Colantonio  del 
FlORE,  lived  in  the  middle  of  the  14th  century, 
and  was  the  contemporary  and  acquaintance  of 
Andrea  Orcagna.  He  was  one  of  the  first  pro- 
moters of  the  Guild  of  Painters  at  Florence.  In  S. 
Antonio  Abbate,  at  Naples,  is  an  altar-jiiece  by 
him  painted  in  1371.  It  was  originally  a  triptych, 
having  in  its  centre,  '  St.  Anthony,  tiie  Abbot, 
enthroned  between  Saints.'  Of  this  artist's  birth  or 
death  nothing  is  known. 

TOMBE,  La.     See  La  Tombe,  Nicolaas. 
T0m6,  Diego,  an  engraver  of  Toledo,  who  exe- 
cuted, in  1726,  a  title-page  representing  '  St.  Ilde- 
fonso  receiving  the  Marian  chasuble,'  surrounded 
with  an  architectural  design  by  Narciso  Tom6. 
TOME,  LncA  di.     See  Thom^. 
TOMKINS,  Charles,  painter  and  engraver,  was 
the  eldest  son  of  William  Tomkins,  A.R.A.,  and 
brother    of    Peltro   Tomkins.      He   was    bom    in 
London  about  1750,  and  in  1776  gained  a  premium 
from  the   Society  of  Arts.     He  exhibited  several 
landscape  views  at  the  Academy,  some  of  which 
he  subsequently  engraved.     In  1782  he  engraved, 


PAINTERS  AND  ENGRAVERS. 


jointly  with  Jukes,  Cleveley's  'Floating  Batteries 
before  Gibraltar,'  and  in  1796  published  'A 
Tour  in  the  Isle  of  Wight,'  containing  a  series  of 
eighty  views,  engraved  from  his  own  drawings. 
Other  works  by  him  are  :  '  Review  in  Hyde  Park,' 
1799  (printed  in  colours);  'Views  of  Reading 
Abbey,'  and  '  Illustrations  to  Petrarch's  Sonnets,' 
the  two  last  published  in  1805.  He  died  about 
1810. 

TOMKINS,  Peltro  William,  an  English  en- 
graver in  the  chalk  and  dotted  manner,  and  a 
distinguished  scholar  of  Bartolozzi.  was  born  in 
London  in  1760.  Many  of  his  early  works  were 
after  Angelica  Kauffman,  and  other  painters  of  the 
time  ;  but  his  best  plates  are  those  after  Italian 
and  Dutch  masters  for  the  publication  entitled 
'The  British  Gallery  of  Pictures,'  and  for  the 
'  Stafford  Gallery.'  Of  the  latter  some  impressions 
were  printed  in  colours.  He  also  engraved  the 
plates  for  '  Original  designs  of  the  most  celebrated 
masters  of  the  Bolognese,  Roman,  Florentine,  and 
Venetian  schools  '  (1812)  ;  for  Tresham's  'Gallery 
of  Pictures'  (1814);  for  'Illustrations  of  Modern 
Scripture  '  (1832) ;  for  a  splendid  edition  of  '  Thom- 
son's Seasons,'  after  pictures  by  W.  Hamilton  ;  and 
for  '  The  Birth  of  Love,'  by  Bland  Burgess,  from 
designs  by  the  Princess  Ehzabeth  of  England.  He 
engraved,  too,  some  plates  from  his  own  designs, 
among  them  '  Innocent  Play '  and  '  Love  and 
Hope.'  One  very  rare  private  plate  by  him  is  the 
portrait  of 

Margaret  Audley,  Duchess  of  Norfolk ;  after  Lucas  de 
Ueere. 

Many  small  ornamental  prints  for  publications  of 
the  day,  which  were  probably  engraved  by  scholars 
under  his  direction,  bear  his  name.  He  died  in 
London,  April  22nd,  1840. 

TOMKINS,  William,  A.It.A.,  an  English  land- 
scape painter,  born  in  London  about  the  year  1730, 
was  the  son  of  an  obscure  painter.  In  1763  he 
obtained  a  premium  for  a  landscape,  and  was 
among  the  first  associates  of  the  Royal  Academy. 
He  exhibited  at  the  Academy  from  1769  to  1790, 
his  subjects  being  chiefly  views,  with  birds  and 
dead  game.  Six  views  of  Windsor  by  him  were 
engraved.  He  painted  numerous  landscapes  and 
views  of  gentlemen's  seats  in  England  and  Scot- 
land ;  there  are  also  some  copies  of  Hobbema  and 
other  Dutch  landscape  painters  by  him.  He  died 
in  London,  January  Ist,  1792. 

TOMLINSON,  J.,  an  English  engraver,  who 
practised  in  London  in  the  early  part  of  the  19th 
century.  Receiving  a  good  offer  of  employment 
in  Paris,  he  settled  there,  but  falling  into  bad 
company,  he  took  to  drinking  and  debauchery,  and 
finally  drowned  himself  in  the  Seine  in  1824.  His 
works  were  principally  landscape  views. 

TOMMASO  D'ANTONIO.     See  Manzuoli. 

TOMMASO,  Bartolommeodi.  See  Bartolommeo 

TOMMASO  BARISINO  of  MODENA,  {not 
Rabisino,  as  he  used  to  be  called.  This  account  cor- 
rects the  biography  in  vol.  iv.  pp.  174-5,)  usually 
called  Tommaso  da  Modena,  born,  according  to 
documents  recently  discovered  in  the  archives  at 
Modena  by  Signori  Bertoni  and  Vicini,  in  1325  or 
1326,  died  probably  early  in  1379.  His  name  first 
appears  in  a  document  of  1339  relating  to  the  sale 
of  a  house  at  Modena  by  his  father  Barisino  Bari- 
sini,  who  was  also  a  painter,  and  Tommaso  himself 
bought  property  there  in  1366.  The  following 
signed  works  are  universally  admitted  to  be  by 
Tommaso  : 

vol.  v.  0 


Karlstein,  TAKreA  o/l  Fraftments  of  an  altar-piece: 
Bohemia.  Our  Lady,  j  Tlie  Madonna  and  the  Ecoe 
Homo  ;  in  the  upper  course, 
half-lengths  of  Saints.  Tlu 
panel  with  the  Madonna 
signed: "  Thomas  de  Mutina" 
Painted  originally  for  the 
chapel  of  St.  Nicholas  at 
Karlstein.  {See  JVeuwirth^ 
'  Wandijemalde'  etc.,  d.  Burg 
Karlstein.) 

Treviso.  Chapter  house  ■)  Frescoes  of  Saints  and  a  series 
of  the  Dominicans  >  of  Dominican  monks.  Signed 
of  S.  Niccolo.  J      and  dated  1 352. 

Vienna.  Gallery.     Madonna  and  Child  with  SS. 

Wenceslaus  and  Palmasius. 
Signed:  "  Thomas  de  Mutina. 
.  .  .  Barisini  Filius.''^  Pro^ 
hahly  ordered  for  the  church 
of  St.  Palmasius  at  Budnian 
ielow  Karlstein  between  1356 
and  1364;  eventually  it  formed 
the  altar-piece  of  the  Kreuz- 
capelle  in  the  castle  of  Karl' 
stein,  where  it  remained  until 
1780,  rchen  it  was  removed  to 
Vienna.     {Neuwirth.) 

It  is  Still  an  open  question  whether  Tommaso 
da  Modena  was  one  of  the  artists  summoned  to 
Bohemia  by  the  Emperor  Charles  IV.  to  assist  in 
the  decoration  of  Schlosz  Karlstein.  The  fact  that 
the  two  signed  altar-pieces  by  Tommaso  mentioned 
above  were  executed  for  churches  there  proves  his 
connection  with  the  place  though  not  necessarily 
his  presence  at  Karlstein,  but  in  the  wall  paintings 
still  existing  in  the  castle  not  a  trace  of  his  hand 
is  seen.  With  the  exception  of  the  '  Madonna  and 
Child'  in  the  chapel  of  St.  Catharine,  which  shows 
Italian  influence,  these  works  appear  to  be  by 
northern  artists.  Tommaso  was  absent  from 
Modena  from  1346  until  the  late  spring  of  1358, 
but  in  these  years  he  was  probably  engaged  upon 
paintings  at  Treviso  ;  in  1358  he  was  again  at 
Modena,  and  appears  to  have  been  living  there  in 
1368.  In  the  same  year  Charles  IV.  paid  a  visit  to 
that  city,  and  it  is  possible  that  the  painter  may 
then  have  entered  into  personal  relations  with  the 
Emperor.  Subsequent  to  this  date  Tommaso's 
name  is  not  met  with  again  at  Modena  until  1379, 
when  he  is  spoken  of  as  dead,  and  it  has  been 
conjectured  that  if  he  actually  went  to  Karlstein 
it  must  have  been  at  this  period  (1368-1379),  but 
of  these  latter  years  of  his  life  we  have  at  present 
no  information.  In  addition  to  the  paintings 
already  mentioned,  Herr  v.  Schlosser,  one  of  the 
best  connoisseurs  of  the  works  of  Tommaso,  con- 
siders that  he  may  be  the  author  of  the  miraculous 
Madonna  of  S.  Maria  Maggiore  at  Treviso,  a  much 
damaged  picture,  and  of  some  of  the  frescoes  on 
the  pillars  of  the  nave  in  the  church  of  S.  Niccol6 
in  the  same  city  ;  he  also  thinks  it  probable  that 
some  of  the  frescoes  in  the  Capella  Vecchia  of  S. 
Salvatore  at  CoUalto  may  be  early  works  of 
Tommaso,  but  he  rejects  the  small  triptych  usually 
ascribed  to  him  in  the  Gallery  at  Modena,  which  is 
entirely  repainted,  and  bears  an  inscription  of  very 
doublful  authenticity — "Thomas  fecit  1.385."  Were 
the  date  above  suspicion  it  would  still  preclude 
the  authorship  of  Tommaso  Barisino,  who  died,  as 
already  stated,  early  in  1379.  Professor  Bailo 
ascribes  to  him  the  history  of  St.  Ursula,  an  im- 
portant series  of  frescoes  formerly  in  the  chapel 
dedicated  to  this  saint  in  the  church  of  S.  Margherita 
at  Treviso,  which  were  removed  to  the  Gallery  on 
the  destruction  of  that  church.     It  may  be  noted 

193 


A  BIOGRAPHICAL  DICTIONARY  OF 


that  the  name  of  Tommaso  is  mentioned  in  con- 
nection with  S.  Margherita  in  May  1358,  when  he 
appears  there  as  a  witness.  Otlier  works  are 
ascribed  to  this  painter  at  Treviso  and  elsewhere, 
but  on  insufficient  grounds.  C,  J.  Ff. 

TOMMASO  DA  SAN  GIOVANNI.     See  Guidi. 

TOMMASO  Di  MARCO,  a  native  of  Florence,  and 
a  pupil  of  Orcagna ;  none  of  whose  works  are 
known  to  be  extant.  Vasari  mentions  a  picture 
by  him  painted  in  1392,  in  Sant'  Antonio  at  Pisa, 
but  this  has  been  long  destroyed. 

TOMMASO  DI  STEFANO.     See  Lapo. 

TOMMASO  DI  STEFANO.     See  Giottino. 

TOMMASO  DI  STEFANO,  architect,  painter,  and 
miniaturist,  born  at  Florence  about  1496,  was  a 
scholar  of  Lorenzo  di  Credi,  and  the  friend  of 
Sogliani.  His  surname  is  said  to  have  been  Lunetti. 
He  successfully  imitated  the  manner  of  his  master, 
and  excelled  particularly  in  the  paintingof  draperies. 
He  painted  an  altar-piece  for  the  Villa  d'Arcetri, 
representing  the  'Nativity,'  which  is  still  to  be 
seen  in  the  chapel  of  the  Capponi  della  Rovinate 
family,  and  carried  out  many  architectural  works 
in  Florence  and  its  neighbourhood.  He  died  at 
Florence  in  1564. 

TOMMASO  DI  VIGILIA.     See  Vigili.\. 

TOMMEL.     See  Temmel. 

TOMULIUS,  LucA,  an  engraver,  whose  name 
is  affixed  to  a  small  portrait  of  F.  Lselius  Contesino, 
coarsely  executed  with  the  graver.  He  was  pro- 
bably identical  with  Lucas  Toniolus,  whose  name 
appears  on  a  portrait  of  Antonius  Paulutius. 

TOMPSON,  Richard,  mezzotint  engraver,  prac- 
tised in  London  towards  the  close  of  the  17th 
century.  He  kept  a  shop  for  the  sale  of  engravings, 
and  also  a  printing  office,  which  has  caused  it  to  be 
questioned  whether  the  excellent  prints  which  bear 
his  name  were  really  his  productions,  or  merely  sold 
by  him.  His  engravings  are  chiefly  after  Kneller 
and  Lely.  A  print  of  Nell  Gwynne  and  her  two 
sons,  signed  by  him,  is  extant.  His  own  portrait, 
painted  by  Soest,  was  engraved  by  Francis  Place. 
Tompson  died  in  1693.     Other  plates  : 

Elizabeth,  Countess  of  Southampton  ;  afttr  Van  Di/ck. 

Mary  Davis,  with  a  guitar. 

Prince  Rupert ;  after  Lely. 

Gilbert  Shelton,  archbishop  of  Canterbury. 

Lady  Ann  Montagu  ;  after  Lely. 

Admiral  Sir  "W.  Berkeley. 

Admiral  Sir  Joseph  Jordan. 

TOMS,  Peter,  the  son  of  W.  H.  Toms,  was 
a  scholar  of  Hudson,  and  drapery  painter  to  Sir 
Joshua  Reynolds,  Cotes,  and  West.  He  was  one  of 
the  first  forty  Royal  Academicians,  and  also  held 
a  situation  in  the  Herald's  Office.  He  went  to 
Ireland  to  practise  as  a  portrait  painter,  but  not 
meeting  with  encouragement,  he  returned  to  Eng- 
land. The  death  of  Cotes  is  said  to  have  so  deeply 
affected  him,  that  he  fell  into  a  state  of  melancholia, 
and  destroyed  himself  in  1776. 

TOMS,  W.  H.,  an  English  engraver,  who  flour- 
ished about  the  year  1740.  He  engraved  several 
views  and  architectural  subjects,  some  plates  for 
books,  and  a  few  portraits.  '  He  died  about  1750. 
The  following  are  among  his  best  prints  : 

The  Portrait  of  Sir  Philip  Percival ;  after  I'an  Dyck. 

Two  Views  of  Greenwich  Hospital ;  after  Lawranson. 

Four  Views  of  Gibraltar ;  after  Mace. 

A  set  of  eight  Views  in  the  Island  of  Jersey. 

A  series  of  English  Views  ;  after  Chatelain.     1747. 

A  series  of  perspectives  of  ancient  London  churches ; 

after  R.   West.     1736—39. 
Twelve  Views  of  Shipping. 

194 


TONDUZZI,  GiDLio,  painter,  a  native  of  Faenza, 
who  flourished  in  the  first  half  of  the  16th  century. 
He  was  a  pupil  of  Giulio  Romano.  Lanzi  mentions 
a  'Stoning  of  S.  Stephen  '  by  him  in  the  church  at 
Faenza,  which  from  its  resemblance  to  the  works 
of  his  master,  had  been  attributed  to  Romano. 

TONELLI,  GiDSEPPE,  an  Italian  painter  of  per- 
spectives and  theatrical  scenery,  who  flourished 
about  1668.  He  was  a  pupil  of  Chiavistelli.  He 
worked  chiefly  at  Bologna  and  Rome. 

TONGB,  Robert,  landscape  painter,  was  born 
in  1823,  at  Longton  near  Preston,  the  son  of 
Robert  Tonge  (or  Tongue),  vicar  of  the  parish.  A 
desire  for  a  military  career  having  been  frustrated 
by  therefusal  of  his  father  to  buy  him  a  commission, 
Tonge  decided  to  be  a  painter  ;  to  which  end  he 
became  a  pupil  of  R.  Beattie,  a  Liverpool  portrait 
painter  of  some  ability.  Tonge  first  exhibited  at 
the  Liverpool  Academy  in  1843  ('  A  Lancashire 
Trout  Stream'),  and  became  an  Associate  of  that 
Society  in  or  before  1851.  He  was  a  pretty  regular 
contributor  to  the  Liverpool  Exhibitions  until 
1854  ;  his  only  appearance  at  the  Royal  Academy 
was  in  1853,  with  'Tlie  Round  Tower  of  Clon- 
dalkin,  County  Dublin.'  Tonge  was  short  and  of 
robust  build,  a  notable  athlete,  frank  and  jovial  in 
disposition,  pleasure-loving  and  self-indulgent.  He 
eschewed  society,  except  that  of  his  boon  com- 
panions. Excellence  in  art  came  to  him  with 
little  effort,  and  he  painted  for  a  ready  market 
with  slight  regard  for  fame,  and  yet  with  ever- 
growing technical  excellence.  The  pre-Raphaelite 
Movement,  which  had  so  great  an  influence  on  his 
local  contemporaries,  left  him  unaffected.  A 
career  of  great  promise  was  abruptly  cut  short  by 
an  attack  of  phthisis.  Tonge  went  to  Egypt  in 
quest  of  health,  but  died  January  14,  1856,  in  a 
tent  in  the  Temple  of  Luxor.  Up  to  the  end 
he  continued  to  paint  admirably.  His  landscapes 
are  always  well  composed,  atmospheric,  rich  and 
harmonious  in  colour,  free  from  affectations. 
Popular  in  Tonge's  lifetime,  they  have  ever  since 
been  highly  esteemed  and  cherished  by  local 
collectors.  A  tolerable  example,  unnamed,  is  in 
the  Walker  Art  Gallery,  Liverpool.  E.  R,  D. 

TONNO,   ,   a  Sicilian  painter,  the  servant 

and  pupil  of  Polidoro  Caravaggio,  whom  he 
assassinated  in  order  to  get  possession  of  his  money. 
He  was  executed  for  this  crime  in  1543,  at  Messina. 

TOOKEY,  James,  an  English  engraver  in  the 
bei;inning  of  the  19th  century.  Specimens  of  his 
work  will  be  found  in  Church's  'Cabinet  of  Quad- 
rupeds,' and  Bell's  '  British  Theatre.' 

TOORENBURGH,  Gerrit,  born  at  Amsterdam 
about  1737,  was  a  scholar  of  J.  Ten  Compe,  and  of 
C.  Pronk.  He  painted  landscapes  and  views  of 
cities,  and  his  drawings  are  good.  He  also 
decorated  the  interiors  uf  houses,  among  them  that 
of  the  Baron  Van  Esse,  called  the  Old  House  of 
Scheffelaar.  Toorenburgh  died  at  Nykerk  about 
1785.  In  the  Museum  at  the  Hague  there  is  a 
view  of  the  Amstel  at  Amsterdam  by  him. 

TOORENVLIET,  Abraham,  son  and  pupil  of 
Jakob  Toorenvliet,  was  born  in  1685.  He  painted 
portraits,  and  died  in  1735. 

TOORENVLIET,  Jakob,  (Torenvliet,)  called 
Jason,  was  born  at  Leyden  in  1641.  He  was  in- 
structed in  design  by  his  father,  Abraham  Tooren- 
vliet, a  glass  painter,  and  for  some  time  ap- 
plied himself  to  painting  portraits.  With  these 
he  had  acquired  some  reputation,  when,  in  1670, 
he  was  induced  to  accompany  his  friend  Nicholas 


PAINTERS  AND  ENGRAVERS. 


Bosendaal  in  a  journey  to  Italy.  On  his  arrival  at 
Rome,  the  works  of  Raphael  became  the  particular 
objects  of  his  study.  To  improve  his  colour  he 
visited  Venice,  where  he  resided  some  time,  and 
after  an  absence  of  six  years  returned  to  Holland, 
where  his  success  was  unequal  to  his  hopes.  He 
was  the  first  master  of  Fraus  Mieria.  He  died  at 
Leyden  in  1719.     Works: 

Brunswick.         Gallery.    A  party  of  men  and  women 

with  books. 
Dresden.  ,,  A  Woman  singing  while  a  man 

plays  the  hurdy-gurdy. 
„  „  A  Fishwoman, 

„  „  A  Jew  holding  a  book. 

Vienna.  „  A  Butcher's  Shop. 

TOPFFER,  Adam  Wolfgang,  born  at  Geneva 
in  1765,  studied  in  Paris  under  Suv6e  and  Delarive, 
and  drew  and  painted  landscapes,  genre  pictures, 
and  scenes  of  peasant  life,  treating  the  latter  with 
much  drollery  and  humour.     He  died  in  1847. 

TOPFFER,  J.  Rudolf,  a  draughtsman  and  art- 
writer,  born  at  Geneva  in  1799,  was  the  son  of 
Adam  Topffer.  He  was  destined  for  his  father's 
profession,  but  a  weakness  of  eyesight  prevented 
his  becoming  a  painter.  He  devoted  himself, 
however,  with  great  success  to  draughtsmanship, 
and  published  a  number  of  humorous  works,  illus- 
trated with  original  drawings.  Among  these  were 
a  '  History  of  M.  Jabot,'  a  '  History  of  M.  Crispin,' 
and  a  pleasantly  written  book  of  travels,  'Voyages 
en  Zig-Zag.'  He  was  also  the  author  of  various 
critical  writings  on  art,  and  was  Professor  of 
.Esthetics  at  the  Academy  of  Geneva.  He  died 
at  Geneva,  June  18th,  1846. 

TOPHAM,  Francis  William,  was  born  at  Leeds, 
on  the  15th  April,  1808,  and  as  we  have  no  record 
of  his  early  life,  it  is  inferred  that  he  was  self- 
taught  in  regard  to  art.  It  is  recorded,  however, 
that  even  in  those  early  days  he  expressed  a  great 
wish  to  become  a  painter  ;  but  his  father,  being 
entirely  ignorant  in  such  matters,  thought  it  best  to 
apprentice  him  to  an  uncle  who  carried  on  the 
business  of  a  writing  engraver,  and  in  this  me- 
chanical employment  young  Topham  seems  to 
have  remained  during  the  term  of  his  apprentice- 
ship. In  or  about  the  year  1830  he  removed  to 
London,  but  it  was  only,  at  first,  to  advance  a  step 
in  the  same  calling,  namely,  that  of  heraldic  en- 
graving— just  as,  more  than  a  century  earlier, 
William  Hogarth  had  done  during  his  apprentice- 
ship to  a  silversmith.  Like  Hogarth,  too,  being 
of  an  active  and  original  turn  of  mind,  he  soon 
aspired  to  work  of  a  higher  character,  and  evincing 
aptitude  and  intelligence,  his  employers,  Fenner 
and  Sears,  who  ha  1  a  large  business  both  as  en- 
gravers and  publishers,  entrusted  him  with  the 
execution  of  a  line-engraving,  with  the  novel  diffi- 
culties of  which  he  is  said  to  have  struggled  with 
only  partial  success,  a  more  experienced  hand — 
one  Tombleson  by  name — having  to  be  called  in 
to  his  assistance.  Gradually,  however,  Topham 
seems  to  have  made  advance  in  this  branch  of  the 
art,  and  became  entrusted  with  work  for  the 
pocket-book  illustrations  that  were  then  in  vogue, 
and  to  which  the  abilities  of  both  John  Pye,  the 
engraver,  and  of  William  Havel,  the  designer,  had 
given  a  certain  distinction.  Advancing  in  this 
kind  of  work,  Topham  became  connected  with 
Virtue,  the  publisher,  and  in  this  way  obtained 
flteady  employment  until,  later  on,  he  was  enabled 
to  throw  off  the  laborious  calling  of  a  line  engraver. 
In  this  vocation  Topham  produced  plates  after  the 


drawings  of  both  Tliomas  Allom  and  W.  H.  Bart- 
lett  ;  he  also  worked  for  S.  C.  Hall's  '  Book  of 
Gems,'  Fearnside  and  Harrel's  '  History  of  Lon- 
don,' Fisher's  '  Drawing-Room  Scrap-Book,'  and 
the  Waverley  Novels.  In  addition  to  these  and 
the  like,  he  drew  on  the  wood  for  Mrs.  S.  C.  Hall's 
'Midsummer  Eve,'  Moore's  'Melodies,'  Burns' 
Poems,  Dickens'  'Child's  History  of  England,' 
'The  Book  of  Ballads,'  and  for  the  'Illustrated 
London  News.'  His  education  as  a  painter  he 
appears  to  have  picked  up  for  himself,  in  part  from 
the  study  of  nature,  and  in  a  measure  at  the  Artists' 
Society  in  Clipstone  Street,  which  he  seems  to  have 
joined  a  little  later.  This  small  mutual  improve- 
ment society  had  been  originally  started  in  quite  a 
modest  way  by  S.  P.  Knight  and  a  few  other  artists, 
who,  in  about  the  year  1823,  banded  themselves 
to.;ether  for  the  sj-stematic  study  of  rustic  figures 
from  the  life.  They  drew  their  models  as  they 
could  find  them — from  the  streets,  the  highways, 
and  byways — wherever  they  could  be  picked  up ; 
beggars,  ballad-singers,  gipsies,  pifferari,  street 
musicians,  and  tramps  of  all  sorts  and  sizes — in 
their  rags  and  dirt,  as  they  could  be  caught.  This 
Society  had  commenced  with  some  eight  or  nine 
members,  who  first  met,  we  are  told,  in  a  rough 
room  down  a  stable-yard  in  Gray's  Inn  Lane ;  but 
the  idea  soon  became  popular,  and  more  commo- 
dious quarters  in  Clipstone  Street,  Fitzroy  Square, 
were  engaged,  and  the  new  Society  became  a 
flourishing  institution,  developing  later  on  into  the 
now  famous  Langham  Club,  the  art-home  and  art- 
school  of  so  many  famous  brethren  of  the  brush. 
Topham  began  to  exhibit  his  work  in  18.S2,  and 
between  that  year  and  1858  contributed  seven  to 
the  Royal  Academy,  and  showed  three  at  the 
British,  and  three  at  the  Suffolk  Street  Gallery. 
In  1842  he  was  elected  an  Associate,  and  the  fol- 
lowing year  a  Member  of  the  New  Society  of 
Painters  in  Water-Colours.  He  went  to  Ireland  in 
1844  with  Alfred  Fripp,  and  here  Topham  seems 
at  last  to  have  quite  found  his  feet.  The  feeling 
for  character,  for  picturesqueness,  and  for  colour, 
which  are  the  special  characteristics  of  his  work, 
were  at  once  brought  to  life  amid  these  surround- 
ings, and  in  the  exhibition  of  his  work  the  following 
year,  they  met  with  immediate  recognition.  He 
retired  from  the  New  Water-Colour  Society  in  1847, 
and  joined  the  Old  the  following  year,  his  election 
as  an  Associate  being  followed  by  full  membership 
four  months  later.  He  was  not  a  prolific  producer, 
and  his  contributions  usually  ranged  from  a  single 
exhibit  to  four  or  five  subjects,  at  the  most.  But  his 
work  was  ever  notable  and  attractive,  and  did 
much  for  the  popularity  of  the  Exhibition.  In  the 
winter  of  1852-3  Topham  went  to  Spain,  visiting 
Madrid,  Seville,  Cordova,  Granada,  Toledo,  and 
other  places  of  interest.  If  he  had  felt  completely 
at  home  in  Ireland,  here  he  found  even  richer  and 
more  congenial  material  for  his  pencil.  His  Spanish 
drawings  now  became  more  coveted  and  popular 
than  any  of  his  previous  work,  and  a  succession  of 
subjects  like  the 'Fortune-telling  Andalusian,' '  A 
Gipsy  Festival  near  Granada,'  'The  Andalusian 
Letter-writer,'  'The  Posada,'  and  'Spanish  Gossip,' 
quickly  followed  in  succession.  In  1860  he  re- 
visited Ireland,  being  accompanied  by  his  son 
Frank  W.  W.  Topham,  and  a  brother  artist,  Baxter, 
and  the  fruits  of  this  tour  appeared  the  following 
season.  In  1876  his  health  began  to  fail,  and  in 
the  winter  of  that  year  he  again  visited  Spain  ;  but 
the  hardships  of  the  journey  were  too  much  for  his 


A  BIOGRAPHICAL  DICTIONARY  OF 


Btrengtli,  and  he  reached  Cordova  in  a  state  of  ex- 
haustion, never  rallied,  and  died  there  on  tlie  31st 
of  March,  1877,  and  was  interred  at  the  little 
Protestant  cemetery  wliich  had  been  enclosed  and 
arranged  by  David  Duncan,  the  British  Consul. 
Topham's  drawings  were  highly  appreciated,  and 
some  of  the  higher  prices  are  recorded  by  Mr. 
Bedford.  For  example  :  1865,  'The  Gipsy  Toilet' 
(Knowles),  £498  15s.  ;  1867,  'The  Passing  Train  ' 
(A.  H.  Campbell),  £315;  1873,  'The  Picador' 
(Murietta),  ^378  ;  1874,  '  Preparing  for  the  Bull- 
Fight  '  (McLean),  £341  5s.  ;  1875,  '  Little  Nelly  in 
the  Churchyard'  (W.  Quilter),  £,325  10s.;  1876, 
'  Dressing  for  the  Fair '  (C.  Suthers,  Ass*),  £378. 

H.W. 

TOPINO-LEBBUN,  FRANgois  Jean  Baptiste, 
born  at  Marseilles  in  1769,  is  remembered  for  his 
picture  of  the  '  Death  of  Gaius  Gracchus,'  painted 
in  1797,  which  was  purchased  by  the  Government 
and  placed  in  the  Museum  at  Marseilles.  He  had 
been  a  pupil  of  David,  both  in  Rome  and  Paris, 
and  imitated  him  in  painting  and  politics.  In 
1793  he  became  a  member  of  the  Revolutionary 
Tribunal,  and  was  guillotined  in  Paris  in  1801,  for 
conspiring  against  the  life  of  the  first  consul. 

TORBIDO,  Francesco,  called  II  Moro,  painter, 
was  a  native  of  Verona,  born  there  about  the  year 
1486.  Vasari's  story  is  that  as  a  youth  he  went  to 
Venice  to  study  under  Giorgione  da  Castelfranco, 
whom,  he  adds,  "  be  imitated  ever  afterwards 
in  his  colouring  and  morbidezza"  ;  but  that  having 
got  into  some  quarrel  there,  he  "dressed  down" 
(concio)  his  adversary  in  such  fashion  that  he 
found  it  prudent  to  leave  Venice  for  his  native 
city,  Verona. 

There  for  a  time  he  abandoned  his  art,  and 
being  (as  the  Venice  story  bears  out)  idquanto 
manesco — "somewhat  ready  with  his  hands" — he 
gave  himself  up  to  amusement  and  exercise  among 
the  young  nobles  of  Verona  ;  and  became  so 
intimate  with  them  that  Count  Zenovello  Giusti 
gave  him  an  apartment  in  his  own  palace,  and  his 
natural  daughter  to  wife.  But  the  love  of  his  art 
was  still  in  his  blood,  and  would  out.  "  Even 
while  he  was  in  the  service  of  these  lords  he  had 
always  a  pencil  in  his  pocket,  or  would  paint  some 
head  or  other  on  the  walls";  and  Count  Zenovello, 
who  seems  to  have  been  a  man  of  discernment, 
gave  his  full  approval  to  his  son-in-law  placing 
himself  afresh  under  good  tuition — that  of  the 
Veronese,  Liberale. 

The  lost  ground  was  now  more  than  recovered ; 
and  here  we  trace  again  the  artist's  singularly 
sympathetic  and  attractive  character,  for  Liberale, 
who  then  was  an  old  man  of  over  eighty  years, 
and  had  just  quarrelled  with  his  married  daughter 
(Vasari,  V.  279),  took  his  new  pupil  to  him  almost 
as  a  son,  and  made  him  his  heir.  Indeed  the 
influence  of  the  great  Veronese  artist  does  appear 
in  II  Moro's  work  ;  but,  as  Crowe  and  Cavalcaselle 
point  out  very  justly,  though  he  is  unmistakably 
Veronese  he  is  "  not  unmistakably  a  pupil  of 
Liberale."  The  other  Veronese  painters  of  his 
epoch  come  to  influence  him  in  turn — Giolfino, 
Morone,  and  Girolamo  dai  Libri ;  but  all  through 
his  art  creation  we  find  him  coming  back  to  that 
profounder  inspiration  of  Giorgione. 

All  this  blending  of  diverse  influences  makes 
this  artist  a  difficult  one  to  analyze.  He  is  an 
imitator,  but  with  sufficient  individuality  to  remain 
himself,  even  while  absorbing  the  influences  which 
stream  upon  him :  he  is  a  Veronese,  but  with  a 

196 


strong  undercurrent  of  Venetian  emotion  and 
colouring.  When  we  look  at  his  frescoes  in  the 
choir  of  the  Duomo  of  Verona  ('Nativity'  and 
'  Assumption  of  Virgin,'  signed  and  dated  1534), 
we  might  be  tempted  even  to  call  him  Raphael- 
esque ;  but  this  would  be  hardly  fair,  since  Vasari 
tells  us  expressly  (V.  292)  that  these  paintings 
"  were  made  by  II  Moro  from  the  design  of  Giulio 
Romano  at  the  wish  of  the  Bishop  Giovan  Matteo 
Ghiberti,  who  was  the  donor  of  the  work,  and  a 
most  intimate  friend  of  the  aforesaid  Giulio.'' 

In  the  'Virgin  and  Child  in  Glory'  of  S.  Fermo 
in  Verona  we  come  much  nearer  to  the  really 
Veronese  Torbido.  This  noble  work,  which,  as 
well  as  the  Duomo  frescoes,  should  be  studied  at 
Verona,  is  combined  with  a  very  beautiful  '  An- 
nunciatiion '  beneath  ;  the  Archangel  Gabriel  is 
here  finely  conceived.  Milanesi  tells  us  that  his 
'  S.  Barbara  in  Glory,'  with  '  SS.  Anthony  and 
Roch '  beneath,  mentioned  by  Vasari  (V.  293),  is 
still  in  S.  Eufemia  of  Verona.  We  must  not  omit 
his  altar-piece  (first  chapel  to  right)  of  S.  Zeno  of 
Verona,  showing  the  'Virgin  and  Child  with  SS. 
Sebastian,  Christopher,'  and  others ;  and  Vasari 
mentions  frescoes  painted  by  him  in  that  home  of 
Morone's  art,  S.  Maria  in  Organo,  which  later 
writers  have  been  unable  to  trace. 

It  was  the  manner  of  the  Veronese  of  that  day 
to  paint  the  facades  of  their  houses ;  and  Torbido 
painted  several  of  these,  damaged  traces  of  which 
Milanesi  believes  may  remain  in  a  'Pagan  Sacrifice' 
between  two  windows  of  a  house  in  the  Strada 
della  Stella  (No.  1878) ;  besides  these  he  painted 
at  Verona  many  portraits  ('Conte  San  Bonifazio,' 
'  Messer  Girolamo  Verita,'  and  others)  which  have 
disappeared,  but  which  are  of  interest  in  connection 
with  his  surviving  portraits. 

The  Museo  Ci  vico  of  Verona  (Snla,  V.  296)  contains 
his  '  Virgin  and  Child  Enthroned,  with  SS.  James 
and  Lazarus,'  signed  with  the  date  of  1542  :  and 
turning  to  his  work  without  Verona,  we  find  that 
Bishop  Giovan  Matteo,  his  patron  of  the  Verona 
Cathedral  Choir,  commissioned  frescoes  from  him 
in  a  chapel  of  the  Badia  di  Rosazzo  at  Friuli, 
which  still  survive,  though  retouched.  These 
frescoes  include  the  '  SS.  Peter  and  Paul '  of  the 
Choir,  the  'Virgin'  and  scenes  from  the  life  of 
Christ,  which  are  completed  by  his  'Transfigura- 
tion,' this  last  bearing  the  legend — Franciscui 
Turbidus  faciehat  1573.  He  may  have  also  worked 
with  Romanino  in  Trent  Castello,  and  certainly 
painted  an  altar-piece  in  the  Cathedral  of  Salo 
on  Lake  Garda.  But  Torbido  was  a  great  por- 
traitist as  well  as  a  religious  painter:  let  us 
turn  next  to  his  work  in  portraiture  which  has 
survived. 

Many  of  his  best  portraits  still  remain  in  Italy, 
others  are  in  Germany.  The  Museum  of  Naples 
has  a  dignified  portrait  of  an  old  man  with  grey 
beard,  a  half-figure  dressed  in  black  with  a  letter 
in  his  hand  ;  the  desk  on  which  he  leans  bears  the 
inscription  :  Francisciis  Turbidus  ditto  el  Moro  me 
faciebat.  Another  portrait  of  an  old  woman  is  in 
the  Academy  of  Venice :  she  holds  a  tablet  with 
the  words  Col  tempo.  The  Brera  Gallery  contains 
a  male  portrait  by  the  artist — a  head  and  shoulders 
— signed  Frs  Turbidus  .  V.  faciebat;  and  in  the 
Pinacothek  of  Munich  is  his  '  Self-portrait,'  holding 
in  his  hand  a  rose  with  the  legend  FROUS  , 
Turbidus .  pinxit .  mcccccxvi.  Milanesi  in  his  notes 
on  Vasari  mentions  this  as  the  likeness  of  the 
artist,  and  alludes  to  a  portrait  of  his  father-in-law 


PAINTERS  AND  ENGRAVERS. 


Count  Zenovello  Giuati---nientioned  earlier  in  the 
article — as  being  in  the  Sambonifacio  Gallery. 
Here  too  may  be  named  the  '  Laurel-Crowned 
Poet'  (under  Giorgione's  name)  of  the  Padua 
Gallery,  and  another  portrait  in  the  Earl  of 
Warwick's  hands.  Both  these  are  given  to  this 
artist  by  Crowe  and  Cavalcaselle,  as  well  as  the 
'Flute-player  witli  two  Listeners'  in  the  Casa 
Maldura  of  Padua,  "  where  we  should  waver  be- 
tween Torbido  and  Cariani,  were  it  not  for  the 
Munich  portrait." 

The  '  Self-portrait '  in  red  chalk  of  the  Christ 
Church  Collection  must  not  be  forgotten :  it  shows 
a  youth  with  thick  lips  and  curling  hair,  whence 
perhaps  his  sobriquet  of  II  Maro.  But  none 
perhaps  of  all  these  interesting  portraits  quite 
eqaal  that  noble  painting  of  a  '  Captain  with  his 
Esquire,'  called  also  'Gattamelata  with  his  Esquire,' 
which  is  one  of  the  treasures  of  the  UflBzi  Collec- 
tion. This  fine  work  had  been  attributed  to 
Giorgione  and  to  Caroto  ;  and  Morelli  has  suggested 
Michele  da  Verona.  The  verdict  of  Crowe  and 
Cavalcaselle,  however,  is  very  definite  as  to  this 
work,  and  may  safely  be  accepted.  In  their  criticism 
they  have  the  following  statement:  "This  is  the 
unmistakable  work  of  Torbido  ...  it  has  the 
double  character  of  Venetian  art,  engrafted  on  the 
Veronese."  The  warrior  stands  here  in  full  armour, 
with  his  right  hand  resting  on  his  sword  :  his 
clean-cut  face  with  its  long  waving  hair  is  of 
singular  nobility  and  beauty  ;  his  vizored  helmet 
and  mace  lie  before  him,  and  behind  him  waits  his 
esquire  or  page. 

The  authors  just  mentioned  give  also  to  this 
artist  the  'Woman  taken  in  Adultery'  of  the 
Hermitage  of  St.  Petersburg,  where  they  trace  a 
strong  Veronese  element,  recalling  Morone  and 
Girolamo  dai  Libri — "  though  the  woman  herself 
suggests  Giorgione,  and  the  man  looking  over 
Christ's  shoulder  is  altogether  Giorgionesque."  In 
this  picture,  not  seen  by  the  author,  they  trace 
therefore  just  those  elements  which  we  have  found 
within  11  Moro's  art  :  the  blending  of  the  Venetian 
influence  with  the  technique  of  the  Veronese,  the 
rich  glowing  colour,  the  deep  warm  shadows  of 
the  latter  transfusing  (above  all  in  his  splendid 
portrait  work)  the  inspiration  which  he  sought 
from  the  Veronese  painters  around  him — from 
Giolfino,  Caroto,  Girolamo  dai  Libri,  and  his  master 
and  friend,  Liberale. 

Torbido  was  an  artist  of  great  interest,  who  will 
repay  the  student's  research.  He  was  also,  it 
appears,  an  engraver :  he  is  mentioned  as  then 
living  in  a  letter  of  Aretino,  dated  1546,  but  after 
that  date  he  passes  from  our  sight.  g.  3 

TORELLl,  Cesarb,  painter,  was  a  native  of 
Rome,  and  a  pupil  of  Giovanni  de'  Vecchi.  He 
flourished  in  the  pontificate  of  Paul  V.,  and  was 
employed  both  as  a  painter  and  a  mosaicist  in  the 
library  of  the  Vatican,  and  in  the  Scala  Santa,  at  San 
Giovanni  Laterano.  He  painted  two  sibyls  in  the 
church  of  La  Madonna  del  Orto.     He  died  in  1615. 

TORELLl,  Felice,  a  painter  of  Verona,  bom 
in  1670,  was  of  the  school  of  Giangioseffo  dai 
Sole,  but  had  previously  studied  art  under  Santo 
Prunati.  His  altar-pieces  are  to  be  found  at 
Rome,  Turin,  Milan,  and  other  cities  of  Italy. 
That  in  the  church  of  the  Dominicans,  at  Faenza, 
is  one  of  his  best  works.  It  represents  '  St. 
Vincent  in  the  act  of  curing  a  female  Lunatic' 
He  died  in  1748.  His  wife  Lucia,  nee  Casalini, 
also  painted  some  pictures  for  churches,  in  which 


she  imitated  the  style  of  her  husband ;  but  her 
chief  excellence  lay  in  portraits.  Her  own  hangs 
in  the  Uffizi  at  Florence.  She  was  bom  in  1677, 
and  died  in  1762. 

TORELLl,  FiLippo  di  Matteo,  a  Florentine 
miniaturist,  who  flourished  between  1440  and  1468. 
In  the  '  Lorenziana '  at  Florence  there  is  a  finely 
illuminated  '  Evangelistarium  '  by  him,  with  mini- 
atures of  the  '  Adoration  of  the  Kings,'  the  '  Cruci- 
fixion,' the  '  Resurrection,'  &c.  In  conjunction 
with  Zanobi  Strozzi,  he  illuminated  some  choir- 
books  for  the  Duomo  and  for  San  Marco,  at 
Florence.  These  miniatures  were  at  one  time 
wrongly  attributed  to  Fra  Benedetto,  the  brother  of 
Fra  Angel  ico. 

TORELLl,  Giacomo,  Cavaliere,  a  celebrated 
painter  of  architecture  and  theatrical  scenery,  was 
born  at  Fano  in  1608.  He  was  the  first,  it  is  said, 
to  invent  shifting  scenes  and  machinery  for  dra- 
matic representations,  and,  for  the  surprise  they 
occasioned,  was  named  il  gran  Stregone,  the  great 
magician.     He  died  at  Fano  in  1678. 

TORELLl,  Stefano,  painter,  was  bom  at  Bo- 
logna in  1712.  He  studied  first  under  his  father, 
Felice  Torelli,  and  then  under  Francesco  Solimena. 
Augustus  111.,  the  future  King  of  Poland,  brought 
him  to  Dresden  in  1740,  and  he  there  painted 
altar-pieces  and  ceiling  decorations,  many  of  which 
were  destroyed  in  the  Seven  Years'  War.  He 
painted  the  figures  in  Canaletto's  twenty-nine 
views  of  Dresden  (1741).  In  1762  he  was  sum- 
moned to  the  court  of  Petersburg,  where  he  painted 
ceilings  in  the  Koyal  Palace,  and  some  portraits, 
among  the  latter  one  of  the  Empress  Elizabeth  in 
armour.  He  was  a  clever  caricaturist,  and  etched 
a  few  plates.     He  died  at  Petersburg  in  1784. 

TOBENBURG.     See  Toorenbdrgh. 

TORENVLIET.     See  Toorenvliet. 

TORESANI,  Andrea,  an  Italian  painter,  and 
native  of  Brescia,  who  flourished  between  1727 
and  1760,  practising  chiefly  at  Venice  and 
Milan. 

TORNIOLI,  N1CCOL6,  was  bom  at  Siena,  and 
flourished  about  the  year  1640.  He  resided  some 
time  at  Bologna,  where  he  painted  two  pictures 
for  the  church  of  S.  Paolo,  a  '  Cain  slaying  Abel,' 
and  a  '  Jacob  wrestling  with  the  Angel.'  Some 
of  his  pictures  are  on  variegated  marble. 

TOROND,  ,  an  English  engraver  and  hu- 
morous draughtsman,  practising  about  the  middle 
of  the  18th  century,  of  whom  nothing  is  known. 

TORRE,  Bartolommeo,  a  fresco  painter  of 
Arezzo,  who  flourished  about  the  beginning  of 
the  17th  century,  and  died  young. 

TORRE,  Flaminio,  called  degli  Ancinelli, 
bom  at  Bologna  in  1621,  was  first  a  scholar  of 
Jacopo  Cavedone  and  Guide  Reni,  but  afterwards 
studied  under  Simone  Contarini.  His  chief  excel- 
lence was  as  a  copyist.  He  painted,  however, 
some  pictures  of  his  own  for  the  churches  at 
Bologna  ;  the  best  is  a  '  Deposition  from  the  Cross,' 
in  S.  Giorgio.  Bartsch  describes  the  following 
seven  prints  by  Flaminio  Torre  : 

Samson  ;  after  Guido. 

The  Virgin  accompanied  by  the  lufant  Jesus  and   St. 

John  ;  from  his  own  design;  dated  1639. 
The    Virgin  with  St.  Jerome  and  St.  Fraucis ;   after 

Lodovico  Carracci. 
The  Virgin  with  the  patron  Saints  of  Bologna ;  after 

Guido. 
St.  John  the  Evangelist ;  from  his  own  design.     Signed 

F.  T.  F 

197 


A  BIOGRAPHICAL  DICTIONARY  OF 


Three  Children  bearing  a  Plateau,  on  which  are  two 

vases  and  a  glass  ;  signed  G.  K.  T. 
Pan  conquered  by  Cupid ;  afttr  Ay,  Carracci. 

Flaminio  Torre  died  at  Modena  in  1661. 

TORREGIANI,  Bartolommeo,  a  pupil  of  Salva- 
tor  Rosa,  painted  landscapes  and  portraits.  He  is 
supposed  to  have  died  in  1674. 

TORRENTIUS,  Johann,  bom  at  Amsterdam 
or  Haarlem  in  1589,  was  not  less  remarkable  for 
the  talents  he  possessed  as  a  painter,  than  for  the 
depravity  of  his  morals.  In  tbe  early  part  of  his 
life  he  painted  conversations,  domestic  subjects, 
and  still-life ;  and  his  pictures  were  greatly  ad- 
mired for  beauty  of  finish  and  delicacy  of  colour. 
But  he  afterwards  fell  into  a  dissolute  course  of 
life,  and  selected  obscenity  for  his  subject.  To 
profligacy  he  added  impiety,  and  attempted  to 
justify  bis  art  by  preaching  tenets  subversive  of 
every  moral  principle.  He  was  accused  of  being 
a  leader  of  the  Rosicrucians,  was  arrested,  '  ques- 
tioned,' and  sentenced  to  twenty  years  imprison- 
ment. By  the  intercession  of  some  persons  of 
consideration,  among  whom  were  Sir  Dudley 
Carleton  and  Charles  I.,  who  addressed  a  letter  on 
his  behalf  to  the  Prince  of  Orange,  he  obtained  his 
liberty,  and,  after  an  unsuccessful  visit  to  England, 
lived  in  hiding  at  Amsterdam  till  his  death  in  1G40. 
Two  jnctures  by  him  are  mentioned  in  the  Wliite- 
hall  Catalogue.  They  were  presented  to  Charles  I. 
by  Sir  Dudley  Carleton. 

TORRES,  Clemente  de,  born  at  Cadiz  in  1665, 
was  a  pupil  of  D.  Juan  de  Valdes  Leal,  in 
Seville.  By  his  talent  and  application  he  became 
one  of  the  beet  painters  of  his  time,  both  in  oil  and 
fresco.  In  the  latter  manner  he  painted  the  S. 
Fernando  over  the  principal  door  in  the  convent 
of  St.  Paul,  Seville,  and  three  colossal  Apostles, 
with  groups  of  angels  above  each,  in  other  parts  of 
the  same  convent.  For  the  Mercenarios  Calzados, 
he  painted  in  oil  the  two  Saints  John,  and  the  Virgin. 
He  went  to  Madrid  about  1724,  where  he  formed  .a 
friendship  with  Antonio  Palomino,  in  whose  praise 
he  wrote  a  sonnet:  Palomino  returned  the  compli- 
ment by  describing  him  as  a  distinguished  painter, 
and  a  laurelled  scholar  of  the  Muses.  In  the  church 
of  S.  Felipe  Neri,  Cadiz,  he  painted  a  'God  the 
Father.'  In  the  Hermitage  there  is  a  '  St.  Joseph 
with  the  Infant  Christ'  by  him.  He  died  at  Cadiz 
in  1730. 

TORRES,  Matias  de,  born  at  Espinosa  de  los 
Monteros  in  1631,  studied  under  his  uncle,  an 
indiflferent  painter,  and  in  the  Madrid  Academy. 
He  also  received  lessons  from  the  younger  Herrera. 
He  imitated  and  exaggerated  the  style  of  Cara- 
vaggio.  He,  however,  painted  landscapes,  and 
battle-pieces,  in  a  graceful  and  free  manner,  which 
were  esteemed  by  the  amateurs  of  his  time.  He 
died  in  1711. 

TORRITI,  Jacobus,  (Tdrriti,)  is  known  by  his 
signature  on  mosaics  in  San  Giovanni  Laterano,  and 
Santa  Maria  Maggiore,  Rome.  Those  in  the  Lateran 
were  carried  out  in  conjunction  with  the  Franciscan 
monk.  Jacobus  de  Camerino.  They  were  executed 
between  the  years  1287  and  1292,  and  though  in 
imitation  of  the  style  of  Cimabue,  they  display  a 
great  advance  on  the  old  mosaicists  of  Rome. 

TORTEBAT,  FRANgois,  painter  and  engraver, 
was  born  in  Paris  in  1616.  He  was  a  disciple  of 
Simon  Vouet,  whose  daughter  he  married,  and  be- 
came a  reputable  painter  of  portraits.  He  was 
received  into  the  Academy  in  1663,  his  reception 
198 


picture  being  a  portrait  of  Vouet,  now  at  Versailles. 
There  are  twenty-five  spirited  etchings  by  Tortebat, 
executed  in  a  style  resembling  that  of  Michael 
Dorigny.  He  engraved  the  plates  for  '  I'Anatomie 
des  Peintres,'  by  De  Piles,  from  designs  by  Johannes 
Calcar.  The  following  independent  plates  are  also 
by  him : 

Peace  descending  upon  earth ;  after  S.  Vouet. 

St.  Louis  carried  up  to  Heaven  by  Angels ;  after  the 

same. 
Samson  breaking  the  Pillars  of  the  Temple  of  the 

Philistines  ;  after  the  same. 

He  died  in  Paris,  June  4,  1690. 

TORTEBAT,  Jean,  painter,  one  of  the  twenty- 
nine  children  of  Franqois  Tortebat,  was  bom  in 
Paris  in  1652.  He  became  a  member  of  the 
Academy  in  1699.  His  reception  picture,  a  portrait 
of  Jouvenet,  is  now  at  Versailles.  He  was  a  suc- 
cessful portrait  painter,  and  many  of  his  works 
were  engraved  by  Edelinck.  He  died  in  Paris, 
November  10,  1718. 

TORTIROLE,  Giovanni  Battista,  painter,  was 
a  native  of  Cremona,  and  flourished  in  the  first 
part  of  the  16th  century.  He  was  a  pupil  of 
Mainardi,  and  worked  for  a  time  both  at  Rome 
and  at  Naples.     He  died  at  the  age  of  thirty. 

TORTOLERO,  Pedro,  a  Spanish  painter  and 
engraver,  was  bom  at  Seville  about  the  beginning 
of  the  18th  century,  and  died  from  an  accident  in 
1766. 

TORTOREL,  Jean,  a  native  of  France,  who 
flourished  about  the  year  1570,  and  engraved  both 
on  wood  and  on  copper.  In  conjunction  with 
Jacques  Perrissim,  he  executed  a  set  of  twenty- 
four  large  prints,  representing  the  '  War  of  the 
Huguenots.'  They  are  engraved  coarsely,  but  not 
without  some  spirit. 

TORY,  GoDEFROlD,  a  famousminiaturist,  draughts- 
man, engraver,  and  printer,  was  born  at  Bourges 
about  1480.  He  began  life  with  the  study  of 
philosophy  and  letters,  and  was  a  professor  in 
various  colleges.  Determining  to  devote  himself 
to  art,  he  visited  Italy,  and,  on  his  retum  to  Paris, 
set  up  a  printing-press,  and  published  a  number  of 
translations  from  Greek  and  Latin  authors,  with 
illustrations  by  himself.  He  took  for  the  sign  of 
his  house  a  broken  jar,  which  he  frequently  placed 
on  his  plates.  Hence  he  is  known  as  the  "  Maitre 
au  pot  cass^."  He  was  appointed  printer  to  the 
king,  and  is  looked  upon  as  a  reformer  of  typography 
in  France.  A  '  Ctesar's  Commentaries '  and  a 
'  Petrarch's  Triumphs,'  with  miniatures  by  him,  are 
still  extant.  To  his  brush  is  also  ascribed  a  minia- 
ture at  the  head  of  a  Codex  of  Diodorus  Siculus. 
He  died  in  Paris  in  1533. 

TOSCANI,  Giovanni  di  Francesco,  (Tossicani,) 
a  painter  of  the  14th  century,  was  the  pupil  of  Giot- 
tino,  in  whose  style  he  painted.  His  masterpiece 
is  said  to  have  been  an  'Annunciation,'  in  a  chapel 
of  the  Bishop's  palace  at  Arezzo.  It  was  restored 
by  Agnolo  di  Lorenzo,  and  later  by  Vasari.  Tos- 
cani  died  May  2,  1403,  and  was  buried  in  Santa 
Maria  del  Fiore. 

TOSCHI,  Paolo,  draughtsman  and  engraver, 
bom  at  Parma  in  1788,  studied  in  Paris  under 
Bervic,  and  first  made  a  reputation  by  a  fine 
etching  of  Henry  IV.,  after  Gerard.  In  1837  he 
was  appointed  Professor  of  Engraving  and  Director 
of  the  Academy  of  Parma,  and  shortly  afterwards 
was  commissioned  to  carry  out  the  reproduction  of 
Correggio's  and  Parmigiano's  injured  frescoes  in 
S.  Giovanni,  and  in  the  Delia  Steccata  at  Parma, 


PAINTERS   AND   ENGRAVERS. 


In  water-colour  and  engraving.  The  results  were 
published  in  forty-eight  plates.  Other  fine  plates 
by  Tosclii  were : 

Lo  Spasimo  ;  after  Raphael. 
The  Madonna  Delia  Temla  ;  after  the  saine. 
The  Descent  from  the  Cross  ;  after  Daniele  da  Volterra. 
The  Madonna  della  Scodella ;  after  Correygio, 
Venus  and  Adonis ;  after  Albano. 
Portraits  of  the  Grand  Duke   of   Tuscany ;   the   Duo 
Descazes  ;  Machiavelli ;  Alfieri. 

He  died  at  Parma,  July  30,  1854. 

TOSCHI,  Pier  Feancesco  d'  Jasopo  di  Domenico, 
was  the  son  of  a  painter  living  outside  the  Porta 
Romana  at  Florence.  He  was  a  pupil  of  Andrea 
del  Sarto.  Three  pictures  by  him.  an  '  Assumption,' 
a  'Transfiguration,'  and  a  'Resurrection,'  are  in 
the  church  of  S.  Spirito,  Florence.  He  was  also 
much  engaged  on  decorative  work.  He  died  on 
September  17,  1567,  and  was  buried  m  S.  Spirito. 

TOSS,  J.  The  name  of  this  artist  is  affixed  to  a 
spirited  etching,  representing  the  adoration  of  the 
Shepherds  ;  after  G-  Hochfkld 

TOTO,  Anthony,  painter  and  architect,  was  an 
Italian  by  birth,  but  came  to  England  about  1531, 
and  was  naturalized  in  1643.  Henry  VIII.  ap- 
pointed him  Serjeant-Painter.  None  of  his  works 
are  known. 

TOULMOUCHE,  AnGosxE,  French  painter; 
born  September  21,  1828,  at  Nantes  ;  became  a 
pupil  of  Qleyre,  and  made  his  debut  at  the  Salon  in 
1848  with  a  portrait.  In  1882  he  exhibited  '  Joseph 
and  Potiphar's  Wife,'  but  it  was  not  until  he 
dealt  with  genre  scenes  that  he  became  famous  ; 
episodes  of  every-day  life  sueli  as  '  Premier  Chagrin,' 
'  Lendemain  de  Bal,'  '  Le  Lilas  Blanc,'  '  Lettre 
d'Amour,'  '  Le  Miroir,'  and  '  Flirtation.'  He  painted 
portraits,  including  one  of  Mile.  R^jane,  in 
1888.  He  obtained  a  third-class  medal  in  1852; 
arappel  in  1859;  a  second-class  medal  in  1861; 
a  silver  medal  in  1889  ;  and  the  Legion  of 
Honour  in  1870.  He  died  in  Paris,  October  16, 
1890. 

TOUR,  Maurice  Quentin  de  la.  See  De  la 
Tour. 

TOURFAUT,  LjfioN  Alexandre,  engraver,  was 
a  native  of  Paris,  and  a  pupil  of  Sotain.  He  en- 
graved chiefly  on  wood,  and  reproduced  portraits, 
etc.,  for  '  Le  Monde  Illustre,'  and  other  publications, 
principally  after  designs  by  contemporary  artists. 
He  committed  suicide  by  hanging  himself,  No- 
vember 16,  1883. 

TOUUNEMINE.     See  Vacher  de  Tournemine. 

TODRNEUX,  Jean  Feanqois,  painter,  was  born 
at  Banthouzel  (Nord)  in  1809.  He  was  a  pupil  of 
Mar&hal,  at  Metz,  and  painted  realistic  pictures 
with  a  certain  vigour.  He  was  also  the  author  of 
several  volumes  of  verse.  In  the  Metz  Museum 
there  is  a  pastel  picture  by  him,  '  The  Gipsy 
Camp,'  and  at  the  Grenoble  Museum,  an  '  At  the 
Organ.'     He  died  in  Paris  in  1867. 

TOURNIER, ,   a   French   painter,  born   at 

Toulouse  about  1604.  He  was  a  pupil  of  Valentin, 
and  is  said  to  have  afterwards  studied  in  Italy 
under  Caravaggio,  whose  blackness  he  imitated  to 
an  absurd  degree.  In  the  Toulouse  Museum  there 
are  two  pictures  by  him  ;  a  '  Descent  from  the 
Cross,' and  an  'Entombment.'     He  died  about  1670. 

TOURNER.     See  TonBNiERES. 

TOURNIER,  Jean  Jacques,  a  French  engraver 
of  the  17th  century,  a  native  of  Toulouse.  He 
engraved  several  plates  for  '  Les  Edifices  Antiques 
de  Rome,'   by  Antoine  Desgodets.     He  also  en- 


graved a  set  of  vases  from  the  designs  by  Charles 
Errard,  and  some  Madonnas,  after  Guido. 

TOURNl^RES,  Robert,  born  at  Caen,  in  Nor- 
mandy, in  1668.  He  received  his  first  instruction 
from  Lucas  de  la  Haye,  a  Carmelite  friar,  but  went 
young  to  Paris,  and  entered  the  school  of  Bon 
Boullongne.  In  1702  he  was  received  by  the 
Academy  as  a  portrait  painter,  and  in  1716  as  a 
painter  of  history.  He  was  made  professor  in  1735. 
He  painted  several  large  pictures  for  churches,  and 
the  portraits  of  some  persons  of  distinction ;  but 
he  also  imitated  the  manner  of  Gerard  Dou  and 
GodfreySchalcken,  and  his  little  genre  pictures  be- 
came so  popular,  that  he  eventually  gave  up  his- 
torical painting.  He  exhibited  occasionally  at  the 
Salon  between  1704  and  1748.  He  was  a  favourite 
with  the  Regent  Duke  of  Orleans,  who  took  great 
delight  in  seeing  him  paint.  Several  of  his  works 
have  been  engraved.  In  1750  Tournieres  returned 
to  Caen,  where  he  died  in  1752.  Among  his  pupils 
were  Huliot  the  younger,  Romagnesi,  and  Le  Moine. 
His  '  Origin  of  Painting  '  is  in  the  Louvre,  and  his 
portraits  of  the  Maupertuis  family  in  the  Nantes 
Museum. 

TOURNY,  Joseph-Gabriel,  a  water-colour 
painter  and  engraver,  who  was  horn  in  Paris  in 
1817,  studied  under  Martinet,  and  became  tapissier 
at  the  Gobelins  in  1836.  He  gained  the  '  prix  de 
Rome'  for  engraving  in  1846,  and  then  took  up 
his  residence  in  the  Papal  city.  While  in  Italy 
he  made  many  copies  in  water-colour  of  paintings 
by  the  old  masters.  He  was  also  successful  as  a 
portrait  painter.     He  died  at  Montpellier  in  1880. 

TOURRIER,  Alfred  H.,  historical  and  genre 
painter  ;  contributed  chiefly  to  the  Academy.  His 
pictures  were  often  engraved,  and  his  work  as  a 
book  illustrator,  e.  g.  an  edition  of  Scott,  published 
by  Nimmo,  attracted  attention.  He  died  in  1892, 
at  the  age  of  fifty-six.  J.  H.  W.  L. 

TOURS,  Georges  Moreau  de,  was  born  in  1848 
at  Ivry-sur-Seine,  and  studied  under  Marquerie 
and  Cabanel.  He  made  his  dehxit  at  the  Salon  of 
1873  with  '  Potiphar's  Wife,'  and  devoted  himself 
at  first  to  painting  scenes  from  classical  story  and 
then  to  battle  painting  and  portraiture.  He  ob- 
tained a  medal  of  the  second  class  in  1879,  a  silver 
medal  in  1889,  and  a  gold  medal  at  the  Exposition 
of  1900  for  his  '  Departure  of  the  Conscripts.'  In 
1892  he  was  created  a  Knight  of  the  Legion  of 
Honour.  His  pictures  were  frequently  bought  by 
the  State,  and  of  these  may  be  named  : '  Le  Drapeau ' 
(a  Crimean  episode,  now  at  the  Ely.s^e),  '  La 
Tour  d'Auvergne'  (Quimper  Museum),  'I'Egyiitolo- 
giste'  (Tours  Museum),  '  Vive  la  France'  (Dinan 
Museum),  '  Une  Extatique  au  xviii.  Sifecle,'  and 
'Les  Forcends  de  la  Charite'  (Rheima  Museum). 
Perhaps  his  best-known  work  is  '  En  Avant  I  En 
Avant  I '  an  episode  of  the  battle  of  Froschwiller, 
while  his  portrait  of  President  Carnot  is  his  best 
portrait.  He  also  did  book  illustrations.  He  died 
at  Strassburg  in  1901.  J.  H.  W.  L. 

TOURSEL,  AUGDSTE,  a  French  painter  of  land- 
scapes and  historical  subjects,  born  at  Arras  in 
1812.  He  was  the  pupil  of  Lordon  and  of  Gros. 
He  exhibited  a  few  pictures  at  the  Salon  between 
1840-50,  and  there  are  several  of  his  works  in  the 
museum  of  his  native  town.  He  died  in  Paris, 
February  12,  1883. 

TOUSSAINT,  Augustus,  an  English  miniature 
painter,  born  in  London  towards  the  middle  of  the 
18th  century.  He  studied  under  James  Nixon, 
and  was  awarded  a  prize  in  1766  by  the  Society  of 

199 


A   BIOGRAPHICAL   DICTIONARY   OF 


Arts.  From  1775  to  1788  he  exhibited  miniatures 
at  the  Royal  Academy,  but,  succeeding  to  property 
on  the  death  of  his  father,  a  jeweller,  he  retired  to 
Lyniington,  where  he  died  towards  the  close  of 
the  century. 

TOUTIN,  Henri,  miniature  painter  in  enamel, 
son  of  Jean  Toiitin,  was  born  about  1646  at 
Chateaudun.  He  afterwards  moved  to  Blois,  and 
in  1676  was  working  in  Paris  as  an  enameller. 
His  best-known  production  is  the  'Family  of 
Darius,'  after  Le  Brun,  and  some  portraits  with 
his  signature  are  in  the  Imperial  Treasury  at 
Vienna.  He  has  particular  claim  to  remembrance 
as  the  instructor  of  Jean  Petitot.  Jf.  H, 

TOUTIN,  Jean,  miniature  painter  in  enamel 
and  engraver,  worked  at  Chateaudun  between 
1618  and  1640.  In  1618  and  1619  he  published 
at  ChSteaudun  two  sets  of  seven  engraved  designs 
for  goldsmiths'  work,  with  figures  below  in  con- 
temporary costume.  His  special  claim  to  re- 
membrance lies  in  his  discovery  of  the  art  of 
enamel  portraiture  about  1630.  M.  H. 

TOUZfi,  Jean,  born  in  Paris  in  1747,  was"  a 
pupil  of  Greuze,  whose  manner  he  successfully 
imitated.  He  painted  domestic  scenes,  and  was 
also  much  employed  in  making  drawings  for  en- 
gravers.    He  died  in  Paris  in  1809. 

TOWNE,  (or  Town,)  Charles,  painter  of  land- 
scapes with  cattle,  and  "portraits"  of  animals,  was 
born,  probably  in  London,  about  1780,  although 
Mayer  identities  him  with  C.  Town,  who  exhibited 
in  Liverpool  in  1787,  and  says  he  was  the  son  of 
Richard  Town,  who  exhibited  there  in  1784.     Of 
the  details  of  his  private  life  scarcely  anything  is 
known.     He  is  said  to  have  been  brother  of  the 
senior  partner  in  Town  and  Emanuel,  Bond  Street 
art  dealers,    and   he   may   have   been   related   to 
Francis  Towne  (q.v.),  E.  Town,  junior,  of  New  Bond 
Street,  a  landscapist  (R.A.  1806-1809),  J.  Towne, 
a   portrait   painter,  who   exhibited   at  the    Royal 
Academy  in  1784,  and  T.  Towne, of  Walthara  Abbey 
and  London,  also  a  portrait  painter,  who  had  seven 
works  at  the  Koyal  Academy  in  1787-91.     Later 
there  was  a  second  J.  Towne,  of  Guy's  Hospital, 
a  sculptor  who  sent  fourteen  portrait  busts,  &c.,  to 
the  Royal  Academy  from  1834  to  1866.     C.  Towne 
first  appeared  at  the  Royal  Academy  in  1799  with 
five   pictures.     He  was   then  at   26,  Gracechurch 
Street.     Two  years  later  lie  was  "at  Mr.  Serle's, 
near  the  Church,  Camberwell."     Three  years  after 
he  was  at  the  same  address,  but  had  become  C. 
Town,  and  in  1806,  from  no  address,  he  sent  an 
'  Interior  of  Westminster  Abbey.'    In  the  following 
year  and  after,  in  1812,  he  had  an  address  in  New 
Bond    Street,    perhaps   that   of    a    relative.      He 
probably  went  to  Liverpool  about  1806,  for  on  the 
institution  of  the  Liverpool  Academy  of  Arts  in 
1810   he  was  an   Academician,  and  evidently  in 
good  practice  as  a  local  painter.     In  1812,  when 
he  had  become  a  Vice-President  of  the  Liverpool 
Academy,  he  showed  a  dozen  pictures,  the  majority 
commissioned  works.    In  1813  he  was  still  a'Vice- 
President,  and  showed  three  pictures.     In  1814  he 
was  merely  an  Academician  and  did  not  exhibit. 
During  these  years  he  resided  in  Grenville  Street. 
Thereafter  the  Academy  held   no  Exhibition   for 
seven   years.     On    its   resumption   of  activity  in 
1822  as   the   Academy  of  the  Royal   Institution, 
lowne,  dwelling  in    Bold  Place,  was  a  member, 
and  exhibited   three   pictures.     At  the   next  Ex- 
hibition (1824)  he  was  no  longer  a  member,  but 
"•^^^h'bited  one  picture,  '  Landscape  with  Cattle,' 


in  the  style  of  Berghem.  After  this  his  name  dis- 
appeared from  the  catalogues,  and  he  had  probably 
left  Liverpool.  He  returned  eventually  to  London, 
or  at  any  rate  used  a  London  address,  and  died, 
it  is  said,  at  an  advanced  age,  about  1850.  His 
totiil  record  at  the  Royal  Academy  was  twelve 
pictures,  and  at  the  British  Institution  four. 
Towne's  works  were  always  highly  finished  ;  his 
pictorial  invention  was  formal,  but  the  landscape 
backgrounds  have  charming  passages,  and  the 
animals  are  not  only  well  painted  but  skilfully 
introduced.  His  "portraits"  of  animals  were  ex- 
cellent, and  his  productions  are  still  esteemed  by 
connoisseurs.  The  Liverpool  Permanent  Collection 
contains  a  poor  'View  of  Everton  Village'  by 
him.  Towne  usually  signed  his  works  in  full  or 
with  initials.  E  R  D 

TOWNE,  Francis,  a  landscape  painter,  was 
bom  in  1740.  He  studied  under  W.  Pars,  and  was 
awarded  a  prize  by  the  Society  of  Arts  in  1759. 
He  first  exhibited  at  the  Free  Society  in  1762,  and 
in  Spring  Gardens,  but  he  afterwards  exhibited  at 
the  Royal  Academy  and  the  British  Institution. 
His  total  London  record  from  1761  to  1815,  accord- 
ing to  Graves,  was  sixteen  pictures  at  the  Society 
of  Artists,  three  at  the  Free  Society,  twenty-seven 
at  the  Royal  Academy,  and  ten  at  the  British 
Institution.  In  1779  he  was  resident  at  Exeter,  in 
1788  at  78,  St.  James's  Street,  London.  Next  year 
he  was  at  Mr.  Downham's,  5,  Leicester  Square. 
This  continued  to  be  his  address  for  several  years, 
but  in  1796  he  was  back  at  Exeter.  Probably  he 
used  Downham's  studio  merely  as  an  address 
daring  a  number  of  years  spent  abroad  in  France, 
Switeerland,_and  Italy,  from  which  countries  the 
subjects  of  his  exhibited  pictures  during  that  period 
and  sometimes  afterwards  were  drawn.  Later  he 
seems  to  have  travelled  in  this  country,  as  in  1798 
he  showed  a  subject  from  North  Wales.  In  1800 
he  was  back  in  London  at  30,  Wigmore  Street, 
Cavendish  Square,  and  in  1808  was  at  39,  Queen 
Anne  Street,  West.     He  died  in  London  in  1816. 

■p  -p  n 

TOWNLEY,  Charles,  an  English  painter' and 
mezzotint  engraver,  was  bom  in  London  in  1746. 
He  studied  in  Rome  and  Florence,  and  engraved 
portraits  and  historical  subjects.  He  also  painted 
portraits,  both  in  oil  and  pastel;  some  of  the  latter 
were  exhibited  with  the  Free  Society  in  1782.     In 

1789  he  visited  Berlin,  where  he  painted  miniatures 
and  engraved  portraits,  among  the  latter  those  of 
Frederick  William  IL,  Catherine  II.,  and  Ziethen. 
He  was  appointed  court  engraver  at  Berlin.     In 

1790  he  went  to  Hamburg,  and  thence  returned  to 
England.  He  died  about  1800.  Among  his  plates 
are  the  following : 

portraits. 

Leonardo  da  Vinci ;  after  a  picture  ascribed  to  the  master. 

Anuibale  Carracci ;  after  himself. 

Domenichino  ;  Che  same. 

Peter  Paul  Rubens  ;  the  same. 

Rembrandt ;  the  satne. 

Sir  Joshua  Reynolds  ;  the  same. 

Percival  Pott,  Surgeon,  F.R.S. ;  after  Reynolds. 

Joseph  Allan,  M.D. ;  after  Romney. 

Sir  Hyde  Parker,  Vice-Admiral ;  after  the  same. 

SnBJECTS. 

Agrippina  weeping  over  the  Tomb  of  Germanicus ;  after 

Cosway. 
Bulls  fighting ;  after  Stiibhs. 
And  others  after  Hoppner,  Opie,  and  Dance. 


PAINTERS  AND   ENGRAVERS. 


TOWNSEND,  Henry  J.,  hiatorical  painter,  was 
born  at  Taunton  on  June  6,  1810.  He  was  educated 
as  a  surgeon,  but  deserted  this  profession  in  favour 
of  art.  At  the  Cartoon  Competition  for  the  Houses 
of  Parliament  in  1843  he  obtained  a  prize  with  his 
'Fight  for  the  Beacon,'  and  in  the  same  year 
exliibited  at  the  Royal  Academy  '  Cromwell  and 
Ireton  reading  the  intercepted  letter  from  Charles  I.' 
The  original  studies  for  these  and  two  other 
pictures  are  in  the  Victoria  and  Albert  Museum. 
From  1839  to  1866  Townsend  exhibited  historical 
and  genre  subjects  at  the  Royal  Academy,  the 
British  Institution,  and  the  Society  of  British 
Artists.  Among  books  illustrated  by  wood-en- 
gravings after  his  designs  may  be  noted  Mrs.  S.  C. 
Hall's  'Book  of  Ballads'  (1847),  and  Thomson's 
'Seasons'  (1852).  He  had  also  considerable  talent 
as  an  etcher,  and  examples  of  his  work  with  the 
needle  may  be  seen  in  Goldsmith's  'Deserted 
Village'  (1841),  Gray's  'Elegy'  (1847),  Milton's 
'L'Allegro'  (1849),  and  other  works  illustrated  by 
the  Etching  Club,  of  which  he  was  a  member. 
For  some  years  he  was  head-master  of  the  Govern- 
ment School  of  Design.  jj  [j 

TOWNSHEND,  George,  Marquis,  amateur 
etcher,  had  a  great  reputation  for  his  humorous 
sketches  and  caricatures,  some  of  which  he  etched 
himself.  He  was  born  in  1724,  and  in  1767  became 
Lord-Lieutenant  of  Ireland.  It  was  during  his  term 
of  office  that  many  of  his  best  drawings  were  made, 
notably  a  clever  caricature  of  the  Duchess  of 
Queensberry.     He  died  in  1807. 

TRABALLESI,  Francesco,  a  native  of  Florence, 
flourished  at  Koine  in  the  pontificate  of  Gregory 
Xin.  (1572—1585).  In  the  Chiesa  de'  Greci,  which 
was  founded  by  that  pope,  are  two  altar-pieces  by 
this  painter,  an  'Annunciation,'  and  a  'Christ  dis- 
puting with  tlie  Doctors.'  His  brother  Bartolom- 
MEO  was  an  assistant  of  Vasari. 

TRABALLESI,  GiaLio,  (Giuliano,)  an  Italian 
designer  and  engraver,  born  at  Florence  in  1726. 
He  made  most  of  the  drawings  for  the  collection 
of  portraits  of  illustrious  Florentines,  which  were 
engraved  by  Allegrini  and  others.  We  have  several 
etchings  by  him,  after  Bolognese  painters  ;  among 
them  are  the  following  : 

The  CommuuioQ  of  St.  Jerome  ;  after  Agos.  Carracci. 

The  Couversiou  of  St.  Paul ;  after  L.  Carracci. 

St.  A16  and  St.  Petroaius  kneeling  before  the  Virgin ; 

after  Cavedone. 
The  Circamcision ;  after  Guido. 
The  Communion  of  St.  Catharine  ;  after  F.  Brizzio. 

Traballesi  died  in  1796. 

TRAGARDH,  Carl  Ludwig,  Swedish  painter ; 
born  in  1860 ;  became  a  pupil  of  R.  Collin  in 
Paris,  where  most  of  his  work  was  done.  He 
painted  landscapes  and  animals,  such  as  '  Anes  aux 
Champs  '  and  '  Sous  les  Olives.'  Ho  obtained  a 
bronze  medal  in  1889  ;  and  died  at  Goteborg,  June 
8,  1899. 

TRAIES,  William,  an  English  painter,  bom  at 
Crediton  in  1789.  In  his  early  years  he  was  a 
clerk  in  the  Post  Office.  He  at  length  devoted 
himself  entirely  to  art,  and  gained  a  considerable 
local  reputation  as  the  "  Devonsliire  Claude."  His 
atmospheric  effects  are  good,  but  his  foliage  is 
heavy.  He  formed  a  close  friendship  with  Gen- 
dall,  another  Devonshire  painter,  with  whom  he 
sketched  much.  Only  four  of  his  works  appeared 
at  the  Royal  Academy.  He  died  at  Exeter,  April 
28,  1872.  There  is  a  landscape,  '  On  the  Ockment,' 
by  him  in  the  South  Kensington  Museum. 


TRAINI,  Francesco,  a   native    of   Pisa,   who 
flourished  in  the  14th  century,  was  a  distinguished 
disciple  of  Andrea  Orcagna.     Vasari  mentions  a 
picture  by  him,  in  the  church  of  S.   Catarina  at 
Pisa,  representing  'S.  Thomas  Aquinas  triumphing 
over  heresy,'  which  is   still    in  situ.     The   other 
works  of  this  artist  are  :  four  scenes  from  the  life  of 
S.    Dominic,  in   the   Academy  of  Florence,    once 
an  altar-piece  ;  it  was  completed  in  1346  ;  and  the 
banner  of  the  Fraternita  della  Lauda,  painted  for 
the  church  of  S.  Maria  Maggiore  at  Pisa,  in  1341. 
TRAMAZZINO,  Franco,  is  noticed  by  Florent 
le  Comte  as  the  engraver  of  a  print,  dated  1561, 
representing  a  solemn  entry  into  the  city  of  Rome. 
TRAMBLIN,  Denis  Charles,  was  scene-painter 
to  the  king's  private  theatre  and  to  the  opera  in 
Paris,  and  flourished  towards  the  middle  of  the 
18th  century.     In  1751  he  became  a  member  of  the 
Academy  of  S.  Luke  ;  and  in  1752  he  was  appointed 
to   a  post   at  the    Gobelins    in   succession  to  his 
father-in-law,  De  Neumaison. 

TRAMULLES,  Francisco,  born  at  Perpignan  at 
the  commencement  of  the  18th  century,  was  the  son 
of  a  Catalonian  sculptor,  who  was  employed  at  the 
time  in  the  cathedral  of  Perpignan.  He  was  first 
sent  to  Paris  to  study  painting,  and  afterwards  to 
Barcelona  to  the  elder  Viladomat.  After  devoting 
two  years  to  copying  the  works  of  the  old  masters 
at  Madrid,  he  returned  to  Barcelona,  opened  a 
school  of  design,  and  obtained  a  great  number  of 
scholars.  He  was  employed  to  paint  three  large 
pictures  for  the  cathedral  at  Perpignan.  He  also 
painted  for  the  city  of  Gerona,  and  for  Barcelona. 
He  died  in  the  latter  city  about  1760,  in  the  fifty- 
sixth  year  of  his  age. 

TRAMULLES,  Manuel,  born  at  Barcelona  in 
1715,  was  the  elder  brother  of  Francisco.  Like 
him,  he  studied  under  Antonio  de  Viladomat,  whose 
manner  he  closely  imitated.  Like  his  brother,  he 
opened  a  school,  which  was  frequented  by  many 
scholars.  He  was  very  studious,  and  very  patient 
in  his  teaching.  He  died  July  3,  1791.  His  chief 
works  are  in  the  churches  and  convents  at  Barce- 
lona ;  and  there  are  a  few  at  Tarragona  and  Gerona. 
TKANFURNARL  See  Tzanfurnari. 
TRASI,  LoDOVico,  painter,  born  at  Ascoli  in 
1634,  was  a  scholar  of  Andrea  Sacchi,  at  the  same 
time  with  Carlo  Maratti ;  and  afterwards  became 
the  disciple  of  his  fellow-student.  In  his  easel 
pictures  he  resembles  Maratti ;  but  in  his  larger 
works  and  altar-pieces  he  imitated  the  less  laboured 
manner  of  Sacchi.  His  'S.  Niccol6,'  in  the  church 
of  S.  Cristoforo,  at  Ascoli,  is  esteemed  his  best 
work.     He  died  about  1694. 

TRAUT,  Hans,  a  Nuremberg  painter  of  the 
fifteenth  century,  belonging  to  a  family  derived 
from  Spires.  His  name  occurs  in  the  city  records 
in  1477  and  1486  ;  he  was  still  living  in  1505,  and 
became  blind  in  his  old  age.  His  principal  work, 
the  decoration  of  the  cloisters  of  the  Augustinian 
convent,  into  which  he  introduced  portraits  of 
many  citizens  of  Nuremberg,  is  no  longer  extant. 
His  only  authenticated  work  remaining  is  a  large 
water-colour  drawing  of  St.  Sebastian,  in  the 
University  Library  at  Erlangen,  ascribed  to  Hans 
Traut  in  Diircr's  handwriting.  c.  D. 

TRAUT,  WiLHELM,  wood-engraver,  worked 
about  1636-1664  at  Frankfort-on-Maine.  His 
woodcuts  are  described  in  Gwinner's  '  Kunst  und 
Kunstler  in  Frankfurt  a.M.'  They  include  a  view 
of  Frankfort,  and  a  '  Flagellation  of  Christ,'  after 
Lucas   Kilian.     They  are  signed  either  with  the 

201 


A  BIOGRAPHICAL  DICTIONARY  OF 


initials   W.   T.,   or  with  a  monogram  resembling 
that  of  Wolfgang  Traut.  C.  D. 

TRAUT,  Wolfgang,  painter,  engraver,  and 
draughtsman  on  wood,  was  the  son  of  Hans 
Traut,  of  Nuremberg.  He  died  unmarried  in 
1620.  His  principal  picture  is  the  Artelshofen 
altar-piece,  of  1514,  in  the  Bavarian  National 
Museum  at  Munich.  Another  important  picture 
is  the  altiir-piece  with  triple  win^s  in  the  Chapel 
of  St.  John  in  the  churchyard  of  the  same  name 
at  Nuremberg.  Drawings  by  his  hand  exist,  and 
one  engraving,  the  'Adoration  of  the  Magi'  (P.  iv. 
173,  1),  at  Oxford.  He  is  chiefly  known  by  his 
woodcuts,  which  are  numerous,  though  only  a 
few  bear  his  monogram,  viz.  'The  Patron  Saints 
of  Passau,  SS.  Valentine,  Stephen,  and  Maximilian,' 
in  the  Passau  Missal  of  1514;  '  Christ  taking  leave 
of  His  Mother'  (1516);  and  'St.  Peter,'  in  the 
'Halle  Heiligthurasbuch' (1520),  which  also  con- 
tains numerous  unsigned  cuts  by  Traut.  His  wood- 
cuts are  very  often  dated,  though  not  signed. 
The  most  important  hooks  illustrated  by  Traut,  in 
addition  to  the  two  already  mentioned,  are  the 
following  : 

'  Porphyrii  Isagoge.'     Holzel,  Noremberg.  1502. 
Locher,  •  Mule  aii  Musam  comparatio.'    Weissenburger, 

Nuremberg,  1506. 
'  Legend    des     Heiligen    Keyser     Heinrichs.'     Pfeil, 

Bataberg,  1511. 
'  Strabi  FuMensia  Hortulus,'    Weissenburger,  Nurem- 
berg, 1512. 
Bonaventura, '  Legend  des  Heiligen  Francisci.'    Holzel, 

Nuremberg,  1512. 
'Theuerdank.'    1517,  1519,  etc.     Cuts  nos.  40  and  79. 

CD. 
TRAUTMANN,  Johann  Geobo,  painter,  born  at 
Zweibriieken  in  1713,  studied  at  first  with  F.  F. 
Bellon  at  Zweibriieken,  and  then  under  Schlegel 
and  Kiesewetter  at  Frankfurt,  and  in  1761  was 
made  painter  to  the  court  of  the  Palatinate.  He 
painted  principally  pictures  with  firelight  effects, 
such  as  his  '  Burning  of  Troy,'  portraits  in  Eastern 
coBtume,  and  peasant  gatherings.  Examples  of  his 
art  are  to  be  found  in  the  Stiidel  Institute  at  Frank- 
fort, and  in  the  Augsburg  and  Cassel  Galleries. 
He  etched  six  plates,  and  made  a  number  of  pen 
and  ink  drawings.  He  died  at  Frankfort  in  1769. 
His  son,  Johann  Peter  Trautmann,  born  in  1745, 
painted  in  the  style  of  his  father.  He  died  in  1792. 
TRAUTMANN,  Karl  Fkiedbich,  landscape 
painter,  born  at  Breslau  in  1804,  studied  at  the 
Academy  of  Berlin.  He  worked  for  some  time  in 
the  duchy  of  Cassel,  and  from  1844  alternately  in 
Breslau  and  Waldenburg.  He  also  practised  as  a 
lithographer.  In  the  Berlin  National  Gallery  there 
is  an  'Oak  Forest'  by  Trautmann.  He  died  at 
Waldenburg,  in  Silesia,  in  1875. 

TRAUTSCHOLD,  Wilhelm,  painter,  was  bom 
at  Berlin  in  1815.  He  studied  at  the  Dusseldorf 
Academy,  and  painted  a  few  genre  pictures,  but 
was  best  known  as  a  portraitist.  He  died  in  1876. 
His  best  work  is  a  portrait  of  Liebig.  There  is  a 
chalk-drawing  of  Black  Forest  scenery  by  him  at 
South  Kensington. 

TRAVI,  Antonio,  bom  at  Sestri,  in  the  Genoese 
territory,  in  1613,  was  generally  known  by  the 
name  of  II  Sordo  di  Sestri,  on  account  of  his  deafness. 
He  was  originally  a  colour-grinder  to  Bernardo 
Strozzi,  who  instructed  him  in  design,  and  he  after- 
wards studied  landscape  painting  under  Godfrey  de 
Waals.  He  died  in  1668.  His  son  Antonio  was 
also  a  landscape  painter. 
TRAVIl^S,  Charles  Joseph,  painter  and  litho- 
202 


grapher,  was  born  at  Wintherthur,  in  Switzerland, 
of  French  parents,  in  1804.  He  studied  first  at 
Strasburg,  and  went  later,  to  Paris,  where  he 
worked  fir  a  time  at  the  Ecole  des  Beaux  Arts, 
and  under  Heim.  He  made  his  ddbut  as  a  portrait 
painter,  but  finding  that  his  bent  lay  rather  towards 
caricature,  he  devoted  himself  almost  entirely  to 
drawings  of  that  class.  He  was  a  prolific  con- 
tributor to  the  '  Charivari '  and  '  La  Caricature,'  and 
assisted  in  the  illustration  of  Balzac's  novels.  His 
burlesque  studies  of  Parisian  low  life  were  full  of 
humour  and  observation,  and  had  a  great  popu- 
larity. He  was  perhaps  best  known  in  this  genre 
by  his  invention  of  the  Uttle  hunchback  '  Mayeux,' 
a  still  popular  type.  Other  works  were:  '  Les 
Frangais  points  par  eux-memes,'  '  Les  Rues  de 
Paris,'  '  Le  Miroir  Grotesque.'  He  died  in  Paris, 
August  13,  1859. 

TRELLENKAMP,  Wilhelm,  historical  painter, 
was  born  at  Sterkrade,  near  Ruhrort,  in  1826.  He 
began  life  as  a  schoolmaster  at  Crefeld,  and  after- 
wards studied  art  at  the  Academy  at  Diisseldorf. 
He  painted  a  number  of  sacred  pictures,  and  many 
portraits.     He  died  at  Orsoy  on  the  Rhine  in  1878. 

TREML,  Johann  Friedbich,  born  at  Vienna  in 
1826,  studied  at  the  Academy  of  that  city  under 
Fendi,  and  painted  military  scenes  in  oil  and  water- 
colours  with  much  animation.  He  died  at  Vienna 
in  1852. 

TREMOLLIERE,  Pierre  Charles,  (Treimo- 
LIERES,)  painter,  born  at  Cholet,  Maine  et  Loire, 
in  1703.  He  studied  in  Paris  under  Jean  Baptiste 
Van  Loo,  and  in  Rome,  as  king's  pensioner.  While 
in  Rome  he  married  Isabella  Tibaldi,  the  miniature 
painter,  and  sister  to  Maria  Subleyras.  On  his  return 
from  Italy  he  resided  some  time  at  Lyons,  where 
he  painted  three  pictures  for  the  church  of  the 
Carmelites,  a '  Nativity,'  an  '  Adoration  of  the  Magi,' 
and  a  '  Presentation  in  the  Temple.'  In  1734  he  re- 
turned to  Paris,  and  in  1737  was  made  a  member  of 
the  Academy  ;  his  reception  picture  was  an  '  Ulysses 
shipwrecked  on  the  Island  of  Calypso.'  He 
painted  several  historical  and  fabulous  subjects  for 
the  Hotel  de  Soubise,  and  was  engaged  to  prepare 
cartoons  for  a  set  of  tapestry  for  the  king,  repre- 
senting the  'Four  Ages  of  the  World,'  when  he  died 
of  consumption,  in  Paris,  May  10,  1739.  Tr^moUifere 
etched  a  set  of  studies  after  Watteau,  and  had 
commenced  'The  Seven  Works  of  Mercy,'  from  his 
own  drsigns,  but  onlj'  lived  to  finish  two. 

TRENCH,  Henry,  an  Irish  historical  painter, 
bom  towards  the  close  of  the  17th  century.  He 
studied  in  Italy,  and  gained  amedal  at  the  Academy 
of  St.  Luke.  Settling  in  England  in  1725,  he  died 
young  in  London,  in  the  following  year. 

TKENKWALD,  Josef  Ma-ihias  von,  Austrian 
p<iinter;  born  at  Prague,  March  13,  1824;  studied 
at  the  Academies  of  Prague  and  of  Vienna,  where 
Ruben  was  his  teacher;  he  also  worked  for  a  time 
at  Rome  ;  became  Director  of  the  Prague  Academy, 
and  Professor  at  the  Vienna  Academy  of  Art.  He 
was  the  holder  of  several  distinguished  decorations. 
He  worked  in  fresco,  and  was  also  known  as  a 
black-and-white  artist.  He  died  at  Perchtoldsdorf, 
near  Vienna,  July  30,  1897. 

TRENN,  Eddard,  a  German  landscape  painter, 
born  at  Sachsenhausen  in  1839.  He  studied  at  the 
Berlin  Academy,  and  under  Eschke.  In  1866  he 
accompanied  an  exploring  expedition  into  the  in- 
terior of  Africa,  and  was  killed  in  an  attack  made 
upon  bis  party  by  the  natives. 

TRENTO,  Antonio    da  (Antonio    Fantdzzi  ; 


PAINTERS  AND  ENGRAVERS. 


Antoine  Fantose),  engraver,  was  bom  at  Trent,  in 
the  Venetian  States,  about  the  year  1508.  He 
studied  painting  for  a  time  under  Parmigiano,  but, 
on  the  recommendation  of  that  master,  turned  to 
the  art  of  engraving  on  wood,  in  the  manner 
known  as  chiaroscuro.  It  is  supposed  that  he  was 
instructed  in  this  process  by  Ugo  da  Carpi,  its  re- 
puted inventor.  His  practice  was  to  use  tliree 
blocks  to  each  print ;  the  first  for  the  outline,  the 
second  for  the  dark  shadows,  and  the  last  for  the 
demitiiit.  He  continued  to  work  at  Bologna  under 
Parmigiano  for  some  time,  and  about  1530  he  en- 
graved several  blocks  after  designs  by  his  master. 
But  shortly  afterwards  he  disappeared  from  Par- 
migiano's  atelier,  carrying  off  a  number  of  drawings, 
engravings,  and  wood-cuts.  Henceforth  we  hear 
no  more  of  hira  in  Italy.  But  in  France  there  ap- 
peared among  the  workers  at  Fontainbleau  one 
Antoine  Fantose,  who  designed  grotteschi  for  the 
decoration  of  the  Gallery,  and  etched  a  number  of 
plates  upon  copper.  Tliere  seems  little  doubt  as 
to  the  identity  of  the  two,  and  Bartsch  and  others 
base  their  opinion  to  that  eft'ect  upon  the  agreement 
of  names  and  dates,  and  upon — (1)  the  strong  re- 
semblances in  style  observable  between  the  ItaHan 
wood-outs  and  the  French  etchings  ;  (2)  the  simil- 
arity between  the  monograms  on  the  wood-cuts 
and  those  on  etchings  dated  1540,  1542,  1544,  and 
1545  ;  (.S)  the  partiality  shown  by  the  French  artist 
for  subjects  after  Parmigiano.  Zani,  however,  dis- 
sents from  this  view,  pointing  out  that  Fantose 
confined  himself  to  reproductions  upon  copper, and 
that  these  are  inferior  in  quality  to  the  Italian 
wood-cuts.  Fantose  died  after  1550.  The  follow- 
ing list  gives  some  of  the  best  both  of  the  wood- 
cuts and  etchings.     Wood-cuts : 

The  Virgin  embracing  the  Infant  Jesus ;  after  Beccafumi . 

The  Holy  Family  ;  after  A.  del  Sarto. 

The  Martyrdom  of  St.  Peter  and  St.  Paul ;  after  Par- 
mi^liaiiQ. 

The  Tiburtine  Sibyl  showing  the  Virgin  and  the  Infant 
Christ  to  the  Emperor  Augustus  ;  after  the  same. 

Oirce  receiving  the  Companions  of  Ulysses;  after  the 
same. 

Psyche   saluted   by  the  People  as   a  Divinity ;    after 
Satviat'. 

St.  John  in  the  'Wilderness ;  after  the  same. 

The  Philosopher ;  after  the  same. 

The  Lute  Player ;  after  the  same. 

A  Naked  Man,  seated,  with  his  back  turned. 
Among  his  best  etchings  we  may  name : 

Hercides  ;  after  Frimaticcio. 

The  Draught  of  Fishes  ;  after  Raphael. 

The  Fight  between  the  Horatii  and  the  Curiatii ;  after 
Giulio  Homano. 

Kegulus  ;  after  the  same. 

TRESHAM,  Henry,  was  bom  at  Dublin  about 
1749.  He  received  his  first  instruction  in  the 
rudiments  of  art  in  West's  academy,  in  his  native 
city.  He  came  to  England  in  1775,  and  was  for 
some  time  employed  in  drawing  small  portraits. 
He  afterwards  won  the  patronage  of  Lord  Cawdor, 
and  was  invited  to  accompany  that  nobleman  in 
his  travels  to  Italy.  During  a  residence  of  four- 
teen years  on  the  continent,  chiefly  at  Rome,  he 
prosecuted  his  studies  with  success.  He  had 
produced  designs  for  some  of  the  principal  public- 
ations of  his  time,  when  Boydell  formed  his 
Shakespeare  project  and  invited  Tresham  to  paint 
three  scenes  from  '  Antony  and  Cleopatra.'  In 
1791  he  sent  three  pictures  to  the  Academy,  an 
'  Adam  and  Eve,'  a  '  Phryne,'  and  a  subject  from 
St.  Luke's  Gospel.  After  this  he  was  elected  an 
A.R.A.     In  1799,  when  he  became  an  R.A.,  he  con- 


tributed a  'Christ  and  Nicodemus.'  In  1807  he 
was  appointed  Professor  of  Painting,  a  post  he 
resigned  two  years  later  on  account  of  ill-health. 
Tresham  was  a  better  designer  than  painter;  his 
drawings  in  ink  and  black  chalk  are  his  best  pro- 
ductions. On  his  return  from  Rome  he  devoted 
much  of  his  time  to  amateur  picture-dealing,  and 
had  a  gallery,  in  which  the  connoisseurs  of  the  day 
might  find  Correggios,  Raphaels,  and  Carraccis 
always  on  sale.  He  was  also  a  writer  of  some 
reputation,  and,  till  his  death,  edited  for  the  Long- 
mans the  publication  known  as  the  '  British  Gallery,' 
and  wrote  descriptions  for  it.  Soon  after  his  return 
from  Italy,  his  health  became  considerably  im- 
paired, and  for  years  before  his  death  he  was  re- 
duced to  a  state  of  infirmity  which  incapacitated 
him  for  any  arduous  undertaking.  He  died  in 
London,  Juu'^  17,  1«14. 

The  TRESSENI,  or  TRISSINI,  were  a  family 
of  painters  from  Lodi,  who  transferred  themselves 
some  time  in  the  latter  half  of  the  15th  century 
to  Vercelli.  The  best-known  member  of  this 
family  was  one  Giovanni,  son  of  a  certain  Barto- 
lommeo,  concerning  whom  documentary  notices 
exist  bearing  date  1488.  He  appears  to  have 
been  already  advanced  in  years  when  he  came 
to  Vercelli,  to  have  resided  alwaj'S  in  houses  be- 
longing to  the  family  of  del  Pettinati,  near  the  old 
church  of  S.  Donate,  and  eventually  to  have 
purchased  landed  property  in  that  city.  He  had 
four  children,  though  wliether  born  of  a  Vercellese 
mother  is  unknown,  and  he  had  a  brother,  Stefano, 
who  appears  to  have  been  also  a  painter.  He  died 
between  1505  and  1509.  Of  his  work  but  little  is 
known.  Padre  Bruzza  prints  a  document  where- 
by Giovanni  Trissino,  in  1492,  covenants  with 
Niccolo  Ajazza,  a  nobleman  of  that  district,  to 
paint  two  chapels  in  the  church  of  S.  Paolo  at 
Vercelli,  one  of  which  was  to  be  executed  in  com- 
pany with  Martino  Spanzotto  ;  but  no  traces  of  this 
work,  nor  of  the  more  important  painting  in  the 
chapel  of  S.  Giovanni  at  Varola  (finished  on  July 
14,  1503),  for  Donna  Francescliina  de  Vassalli, 
Abbess  of  S.  Spirito,  now  exist.  He  was  also 
commissioned  in  1499,  by  the  Commune  of  Vercelli, 
to  paint  coats-of-arms  and  other  decorations,  on 
the  occasion  of  the  entry  of  Louis  XII.  of  France 
into  that  city,  on  his  expedition  to  conquer  Lom- 
bardy.  Of  his  sons,  the  most  celebrated,  LoDOVico 
(born  about  1483),  was  both  a  painter  and  a  pro- 
fessor of  art,  but  also  kept  a  shop  for  drugs  and 
colours  in  one  of  the  above-mentioned  houses 
belonging  to  the  dei  Pettinati  family,  which  he 
appears  to  have  subsequently  bought.  Many 
notices  exist  as  to  his  business  and  affairs  generally, 
but  very  little  concerning  his  painting.  On  July 
4,  1640,  he  undertook  to  decorate  two  rooms  in  the 
Bishops'  Palace  at  Vercelli  for  25  gold  scudi,  but 
these  works  have  also  disappeared.  He  married 
Francesca  de  Gociis,  of  Casalvolone,  and  dying 
childless  in  1565,  was  buried  beside  his  wife,  who 
had  predeceased  him,  in  the  church  of  S.  Marco. 
His  chief  claim  to  recognition  is  the  friendship 
that  existed  between  him  and  his  more  celebrated 
fellow-citizens,  Gaudenzio  Ferrari  and  Eusebio 
Oldoni.  His  two  brothers,  Bernardino  and  Bab- 
TOLOMMEO,  both  also  painters,  were  likewise 
interested  in  the  drug  business.  Of  the  former, 
notices  exist  from  1513  to  1517,  in  which  year  he 
married  Oisina  di  Bartolommeo  de  Raimondis,  of 
Villarboito,  and  would  seem  soon  after  to  have 
died.    The  latter,  who  lived  to  be  well  over  60, 

203 


A  BIOGRAPHICAL  DICTIONARY   OF 


dying  about  1659,  appears  to  have  given  up 
altogether  liis  early  practice  of  painting,  and  to 
have  turned  more  to  his  drug  establishment,  which 
was  subsequently  carried  on  by  his  sons  Giovanni 
Bernardino  and  Giovanni  Battista.  He  married 
Caterina  Rusconi,  by  whom,  besides  the  two  sons 
before-mentioned,  he  had  six  daughters  ;  and  with 
him  the  art  interest  of  this  family  would  seem  to 
have  lapsed,  for  nothing  is  known  of  his  sons 
having  even  handled  the  brush,  and  Giovanni 
Tresseno's  fourth  child  was  a  daughter,  Lucia,  who 
married  one  Antonio  d'Andorno.  R.  H.H.C. 

TREU,  JOHANN  NiKOLAUS,  (Trey,)  was  born  at 
Bamberg  in  1734.  He  studied  science  and  paint- 
ing under  his  father  Marquard  Treu,  and  later  under 
Van  Loo  and  Pierre  in  Paris.  He  subsequently 
became  court  painter  at  Wiirzburg.  Thence  he  went 
to  Rome,  where  he  lived  several  years,  painted  a 
portrait  of  Pope  Pius  VI.,  and  was  crowned  by  the 
Academy  of  St.  Luke.  On  his  return  to  WtLrzburg 
he  painted  portraits  and  pictures  for  churches.  He 
died  at  Wiirzburg  in  1768. 

TREU,  Joseph  Chbistoph,  (Trey,)  born  at  Bam- 
berg in  1738,  was  another  son  and  pupil  of  Marquard 
Treu.  He  painted  landscapes  and  sea-pieces.  In 
1780  he  was  appointed  inspector  of  the  gallery  of 
Pommersfelden.     He  died  at  Bamberg  in  1798. 

TREU,  (Trey,)  Katharine,  painter,  was  born 
at  Bamberg  in  1743.  She  was  the  daughter  of 
Marquard  Treu,  and  at  a  very  early  age  showed 
talent  in  the  representation  of  flowers,  fruit,  and 
insects.  In  1764  she  was  appointed  painter  to 
the  Court  Palatine  at  Mannheim,  and  later  became 
professor  of  painting  at  Diisseldorf.  She  died  at 
Mannheim  in  1811. 

TREU,  Marquard,  painter,  born  at  Bamberg  in 
1712,  was  a  Jew  by  birth,  but  while  studying  at 
Prague  embraced  the  Catholic  faith.  In  the  Augs- 
burg Gallery  there  is  a  picture  by  him.  He  died 
in  1796. 

TREU,  Martin,  a  German  engraver,  who  flour- 
ished about  the  year  1540.  He  was  contemporary 
with  Johann  Sebald  Beham  and  Heinrich  Alde- 
grever,  and,  from  tlie  small  size  of  his  prints,  is 
sometimes  placed  among  what  are  called  the  little 
masters.  His  plates  are  from  his  own  designs,  and 
they  prove  him  to  have  been  a  man  of  some  genius. 
He  appears  to  have  attentively  studied  Lucas  van 
Leyden.  He  sometimes  marked  his  plates  with 
the  initials  M.  T.  with  the  date,  and  sometimes 
with  a  monogram  composed  of  those  letters,  thus, 

"]V/|   .  He  engraved  moral  and  allegorical  subjects, 

to  the  number  of  about  sixty  in  all.     The  following- 
are  among  the  best  : 
.        The  Jadgmeut  of  Solomon.     1540. 
'         The  Five  Wise  Virgins.     1540. 

History  of  the  Prodigal  Son  ;  twelve  plates.     1541 — 1543. 

Peasants  Dancing  ;  twelve  i?)  plates.     1542. 

Gentlefolks  Dancing  ;  twelve  plates,     1542. 

The  Surprise.     1540. 

*  La  Polissonerie. '     1 540. 

The  ill-used  Husband. 

Design  for  a  Dagger  Sheath.     1540. 

A  Poniard  in  its  Sheath.     1540. 

Thirteen  plates  of  Christ  and  His  Apostles,  with 

the  mark     'Jj^^ .    may  also  be  by  Treu.     [It  is  to 

be  noted  that  the  identity  of  one  Martin  Treu  with 
the  16th  century  master  whose  prints  are  signed 
M.T.,  rests  entirely   on   the   somewhat  arbitrary 
decision  of  Professor  Christ.] 
204 


TREU,  Rosalie.    See  under  Dorn,  Joseph. 

TREVETT,  Robert,  an  English  draughtsman 
and  engraver,  born  towards  the  close  of  the  17th 
century.  He  was  master  of  the  Paper-Stainers' 
Company,  and  worked  in  conjunction  with  Vertue. 
He  died  in  1723,  leaving  unfinished  a  work  illus- 
trating St.  Paul's  cathedral,  and  a  large  view  of 
London  from  Southwark. 

TREVIGI,  GiROLAMO  DA.    See  Pennacchi. 

TREVIGI,  Lodovico  da.     See  Toeput. 

TREVIGLIO,  Bernardino  Zenale  da.  See 
Martini,  Bernardino. 

TREVILLIAN,  William.  The  name  of  this  en- 
graver is  affixed  to  a  portrait  of  Oliver  Cromwell's 
porter,  dated  1650. 

TREVINGARD,  Anna,  an  obscure  painter,  prac- 
tised in  London  in  the  second  part  of  the  18th 
century. 

TREVISANI,  Angelo,  born  at  Venice  in  1669, 
was  a  pupil  of  Celesti.  Though  he  occasionally 
painted  historical  subjects,  he  was  more  employed 
as  a  portrait  painter,  by  which  branch  of  art  he 
acquired  both  fame  and  fortune.  Among  his  sub- 
ject pictures  were :  '  The  Expulsion  of  the  Money- 
changers from  the  Temple,'  in  SS.  Cosmo  e  Da- 
miano,  Venice  ;  '  The  Dream  of  S.  Theresa,'  in  San 
Pietro  in  Oliveto,  at  Brescia  ;  and  a  Madonna,  in  the 
Gallery  at  Madrid.     He  died  about  1753. 

TREVISANI,  Francesco  Cavaliere,  painter, 
born  at  Capo  d'Istria  in  1656,  was  the  son  of  An- 
tonio Trevisani,  an  architect  of  some  reputation,  by 
whom  he  was  instructed  in  the  first  rudiments  of 
design.  He  afterwards  became  the  disciple  of  An- 
tonio Zanchi,  at  Venice.  He  visited  Rome,  where 
he  studied  under  Maratti,  and  was  favoured  with  the 
patronage  of  Cardinal  Chigi.  Chigi  employed  him 
in  several  considerable  works,  and  recommended 
him  to  the  protection  of  Pope  Clement  XL,  who 
not  only  commissioned  him  to  paint  one  of  the 
Prophets  in  S.  Giovanni  Laterano,  but  engaged 
him  to  decorate  the  cupola  of  the  cathedral  at 
Urbino.  There  he  represented,  in  fresco,  allegories 
of  the  four  Quarters  of  the  World,  in  which  he 
displayed  much  invention  and  ingenuity.  The 
public  buildings  of  Rome  abound  with  his  works. 
He  showed  talent  in  imitating  the  style  of  the  old 
masters,  and  was  employed  by  the  Duke  of  Modena, 
in  copying  the  works  of  Correggio,  Parmig^anOi 
and  other  favourite  painters.  He  died  at  Rome, 
July  30,  1746.     His  principal  pictures  are  : 

Cassel.  Gallery.    Diana  and  Endymion. 

„  „  Portrait  of  himself. 

Dresden.  „  A  Holy  Family. 

Florence.  Uffizi,     Madonna. 

„  „        '  Noli  me  Tangere.' 

Paris.  Louvre.     Sleep  of  the  Child  Jesus. 

Bome.  Pal.  Spada.    Antony  and  Cleopatra. 

And  others  at  Brunswick, 
Madrid,  Munich,  Stockhohn, 
and  Vienna. 

TREVISO,  Dario  da,  was  living  in  the  15th 
century,  and  in  1446  is  mentioned  in  the  account- 
books  of  the  Santo,  Padua,  as  one  of  Squarcione's 
disciples.  His  only  known  existing  picture  is  a 
Virgin  of  Mercy  in  the  Gallery  of  Bassano.  He 
was  a  very  poor  artist,  and  seems  chiefly  to  have 
been  employed  in  decorating  the  fronts  of  houses 
in  Serravalle,  Treviso,  and  Conegliano,  with  designs, 
mottoes,  and  arabesques.  Many  of  these  still  exist. 
The  dates  of  his  birth  and  death  are  unknown. 

TREVISO,  GiROLAMO  DA,  bom  of  respectable 
parents,  was  the  brother  of  Lodovico  Aviani,  a 
poet.     He  finished  an  altar-piece  and  frescoes  for 


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PAINTERS  AND  ENGRAVERS. 


a  chapel  of  S.  Niccol6,  Treviso,  in  1470;  it  has 
since  disappeared.  A  small  arched  panel  with 
the  dead  Virgin  in  the  tomb,  surrounded  by  the 
Apostles,  painted  by  him  about  1478,  is  in  the 
possession  of  Signor  Fabrizio  Pieribondi,  at  Lonigo. 
In  the  Duomo  of  Treviso  is  an  enthroned  Virgin  and 
Child  with  SS.  Sebastian  and  Kooh,  and  two  Angels, 
dated  1487.  In  1495  he  painted  a  Madonna  with 
four  Saints,  in  San  Salvadore  of  Colalto.  The  Casa 
Kinaldi,  Treviso,  has  a  '  Christ  at  the  Column 'at- 
tributed to  him.  The  dates  of  his  birth  and  death 
are  alike  unknown.     Other  works : 

Montebelluno.      S.  Vigilio.     Virgin  with  Saints. 

Paese,  near  Treviso.  Church.     St.  Martin  sharing  his  CUoak. 

TfiEVISO,  GiROLAMO  DA.     See  Pennacchi. 

TREZEL,  Pierre-Fjj;lix,  painter,  was  bom  in 
Paris  in  1782.  He  was  a  pupil  of  Lemire,  and 
painted  historical  and  mythological  subjects  and 
saints  in  the  style  of  Prudhon.  In  1830  he  accom- 
panied a  scientific  expedition  to  the  Morea,  where 
he  made  numerous  drawings.  He  died  in  Paris, 
June  16,  1855.     Works: 

Angers.  Musee.     Phredra. 

Bordeaux.  „  Hector  and  Andromache. 

Versailles.  „  Portrait  of  Lautrec. 

TRICOMI,  Bautolommeo,  a  Messinese,  who 
flourished  in  the  first  half  of  the  17th  century.  He 
was  a  scholar  of  Barbalunga,  (Ricci,)  and  the 
master  of  Andrea  Zuppa,  and  is  described  by  Lanzi 
OS  an  excellent  portrait  painter. 

TRIERE,  P.,  an  obscure  French  engraver,  who 
flourished  about  the  year  1780. 

TRIMOLET,  Anthelmr,  painter,  bom  at  Lyons 
in  1798,  was  a  pupil  of  Revoil,  and  became  pro- 
fessor of  drawing  in  his  native  town.  In  the  Lyons 
Museum  there  is  an  '  Interior  of  a  Mechanician's 
Work-room,'  and  in  the  Nantes  Museum  a  '  Por- 
trait of  a  Man,'  by  him.     He  died  at  Lyons  in  1866. 

TRINGHAM,  — ,  engraved  a  portrait  of  the 
Reverend  Samuel  Clark,  and  several  plates  for 
books,  about  the  year  1750. 

TRINO,  Francesca  da,  died  e.  1760,  is  the 
signature  commonly  employed  by  Pier  Francesco 
Guala,  a  Piedmontese  artist  of  the  eighteenth 
century.  His  family  came  from  Rimella  (Valsiosa), 
but  he  himself,  after  studying  at  Bologna  under 
Antonio  Vicentini,Cavaliere  di  Vertu,  passed  most 
of  his  life  at  Trino,  near  Varese.  Lanzi  calls  him 
Pietro  Gualla  of  Casale-Monferrato.  "  This  artist," 
he  says,  "busied  himself  with  fresco  paintings, 
and  did  oil  pictures  besides  for  many  places  in  the 
State  and  for  the  capital.  Although  he  began  to 
paint  late,  he  showed  himself  a  very  lively  por- 
trait painter,  nor  was  he  destined  to  leave  this 
class,  not  having  neither  the  drawing  power  nor  the 
mental  capacity  for  greater  things.  When  he  was 
old  he  became  a  monk  of  the  Pauline  order,  and 
began  in  Milan  to  paint  the  dome  of  their  church, 
but  died  before  completing  the  task." — '  Lanzi 
Storia  Pittorica,'  Vol.  i.  p.  391.  In  his  own  dis- 
trict Pietro  Gualla  seems  to  have  enjoyed  con- 
siderable popularity.  There  are  works  by  him  at 
Trino,  and  in  the  neighbouring  Abbey  of  Lucadio 
and  in  various  churches  of  Monferrato.  Here  are 
many  exceedingly  fine  frescoes  and  canvases 
from  his  hand,  three  of  colossal  size  in  St. 
Domenico :  (1)  'The  Defeat  of  the  Albigenses,' 
1724 ;  (2,  3)  '  History  of  St.  Domenico,'  1753,  very 
fine  works.  His  style  is  Baroque,  and  his  pictures, 
though  fine  and  imposing,  are  often  disfigured 
by  careless  work.    One  large  picture,  a  '  Baptism 


of  Christ,'  has  found  its  way  to  England,  and  is 
in  a  private  collection  near  London.  The  most 
recent  information  respecting  this  artist,  whose 
name  has  not  hitherto  been  included  in  the  best- 
known  dictionaries  of  art,  has  been  supplied  by 
the  courtesy  of  Signor  Negri,  a  gentleman  of 
Casale.  A,  W, 

TKIOSON.  See  Girodet-de-Rousst-Trioson. 
TRIQUBTI,  Henri  de,  painter  and  sculptor, 
bom  at  Conflans  in  1802,  (1804,)  studied  in  Paris 
under Hersent.  In  1831  he  painted  the  'Condemn- 
ation of  Galileo,'  and  sent  it  to  the  Salon  of  that 
year.  He  shortly  afterwards  made  his  first  essays 
in  sculpture,  to  which  he  finally  devoted  himself. 
The  mosaic  decorations  in  the  Albert  Memorial 
Chapel  at  Windsor  are  by  him.  He  was  also  the 
authorof  a  work  on 'The  Three  Museums  of  London.' 
He  died  at  Windsor  in  1874. 
TRISSINI.  See  Tressk.ni. 
TRISTAN,  Luis,  a  Spanish  painter,  born  at  a 
village  near  Toledo  in  1586,  was  a  scholar  of  Do- 
menico Theotocopuli,  called  II  Greco.  He  painted 
a  '  Last  Supper '  for  the  monks  of  La  Sisla,  near 
Toledo  ;  also  a  series  of  pictures  for  the  church  of 
Yepes,  in  1616,  when  he  was  in  his  thirtieth  year  ; 
and  in  1619,  the  portrait  of  Cardinal  Sandoval, 
Archbishop  of  Toledo,  in  which  be  united  the 
elaborate  execution  of  Sanchez  Coello  with  some 
of  the  Venetian  spirit.  The  churches  of  Toledo 
possess  many  of  his  pictures,  and  others  are  to  be 
found  at  Madrid.     He  died  at  Toledo  in  1640. 

TRIVA,  Antonio,  painter,  was  born  at  Reggio  in 
1626,  and  studied  under  Guercino,  at  Bologna.  He 
was  a  reputable  painter  of  history,  and  distinguished 
himself  by  some  pictures  in  churches  at  Reggio 
and  Piacenza,  which  have  been  celebrated  by 
the  poet  Boschini.  He  visited  Venice,  taking 
with  him  his  sister  and  assistant  Flamminia.  He 
was  invited  to  the  court  of  the  Elector  of  Bavaria, 
and  died  at  Munich  about  1699.  He  painted  as 
well  with  his  left  hand  as  with  his  right,  and 
was  a  good  etcher.  Bartsch  has  described  four 
etchings  by  him  with  the  following  titles :  1. 
Susanna  and  the  Elders.  2.  A  Repose  in  Egypt. 
3.  The  Virgin,  half-length,  seated,  holding  the 
Infant  Jesus  in  her  arms.  4.  An  Allegory ;  a 
young  Man  looking  in  a  Mirror,  and  seeing  Sensu- 
ality, the  Furies,  and  Death.  All  these  are  signed 
with  his  name.  Fiissli  mentions  five  more;  four 
views  in  Italy,  and  a  frontispiece  to  a  book. 

TROGER,  Paul,  a  German  painter  and  engraver, 
born  at  Zell,  in  the  bishopric  of  Brixen,  in  1698. 
After  acquiring  the  rudiments  of  design  in  his 
native  town,  he  visited  Fiume,  and  became  a 
scholar  of  Dom.  Giuseppe  Alberti,  passing  after- 
wards to  Venice  and  Bologna.  He  finally  established 
himself  at  Vienna,  where  he  was  made  Director  of 
the  Imperial  Academy.  Of  his  pictures,  we  have, 
'  Christ  on  the  Mount  of  Olives,  '  St.  Joseph  with 
the  Child,'  and  '  St.  Francis  in  a  Cave.'  Others  are 
in  the  cathedral  at  Brixen,  and  in  the  Ferdinandeum 
at  Innsbruck.  He  has  left  several  original  etchings 
of  historical  subjects  and  landscapes.  Among  them 
the  following : 

The  Holy  Family  ;  Faul  Troger,fec.     1721. 
St.  Joseph  embracing  the  Infant  Jesus. 
The  Dead  Christ  in  the  Lap  of  the  Virgin. 
Six  Landscapes,  with  ruins  and  figures. 

Troger  died  in  1777. 

TROGLI,  GlULio,  an  Italian  painter,  bom  1613, 
was  a  pupil  of  Gessi.  He  published  a  work  on 
'  The  Paradoxes  of  Perspective,'  which  gained  for 

205 


A  BIOGRAPHICAL  DICTIONARY  OF 


him  the  nickname  of  '  II  Paradosso.'     He  died  in 
1685. 

TROIJEN,  Jan  van,  a  native  of  the  Netherlands, 
who  flourished  about  the  year  1650.  He  engraved 
Bome  of  the  plates  for  the  'Teniers  Gallery,'  from 
the  copies  by  that  master  after  pictures  in  the  col- 
lection of  the  Archduke  Leopold.  They  are  slight 
in  execution,  and  the  drawing  is  incorrect. 

TROIJEN,  RoMBOUT,  (Troyen,  Rontbodts,)  van, 
painter  of  the  17th  century,  was  a  native  of  Fries- 
land.  He  painted  landscapes  with  ruins,  palaces, 
and  other  buildings  in  the  Italian  style.  His  pic- 
tures bear  some  resemblance  to  those  of  Guylenburg, 
and,  like  the  works  of  that  artist,  have  darkened 
considerably  since  they  were  painted.  He  also 
painted  portraits;  for  Suydcrhoef  engraved  one 
after  him.  He  died  at  Amsterdam  in  1650.  There 
are  pictures  by  him  in  the  Galleries  of  Brunswick 
and  Augsburg. 

TROILI,  Gdstav  Dno,  a  Swedish  portrait  painter, 
born  at  Ransbergsbruk,  in  1815,  was  first  a  soldier, 
then  studied  under  Sodermark,  and  visited  Italy  in 
1845.  In  1850  he  began  to  practise  portrait  paint- 
ing, and  soon  achieved  success,  his  works  being 
distinguished  by  fine  colour  and  keen  appreciation 
of  character.  He  died  in  1875.  Two  of  his  pictures 
are  in  the  Stockholm  Gallery. 

TROLL,  Johann  Heinrich,  born  at  Winterthur 
in  1756,  studied  at  Dresden  for  seven  years  under 
A.  Zingg,  and  drew  landscapes  from  nature.  He 
went  to  Paris  and  the  Hague,  in  1794  he  travelled 
through  Switzerland,  and  in  1796  visited  Rome. 
He  afterwards  returned  to  Paris,  where  he  published 
a  number  of  Swiss  landscapes  in  aquatint.  Towards 
the  close  of  his  life  he  practised  flower-painting. 
He  died  at  Winterthur  in  1826. 
TROMBA,  IL.  See  Santo  Rinaldi. 
TKOMETTA,  Niccola,  (or  Niccola  da  Pesaro,) 
flourished  in  Italy  in  the  17th  century,  and  was  a 
pupil  of  F.  Zuccaro.  Some  of  his  works  still  exist 
in  Rome,  where  he  painted  in  the  Ara  Coeli.  His 
best  picture,  however,  is  a  '  Last  Supper,'  painted 
for  the  Church  of  the  Sacrament  at  Pesaro.  He 
died  during  the  Pontificate  of  Paul  V.  (1605  to 
1621). 

TRONCHON,  A—  R— ,  a  French  engraver,  who 
flourished  from  1740  to  about  the  year  1760.  He 
engraved  after  Noel  Nicholas  Coypel,  and  other 
masters. 

TRONO,  Giuseppe,  born  at  Turin  in  1739,  was  a 
pupil  of  Alessandro  Trono,  but  completed  his 
studies  in  Rome.  He  was  long  portrait  painter  to 
the  court  of  Naples,  and  later  became  court  painter 
at  Turin.  In  1785  he  went  to  Lisbon  in  a  like 
capacity,  and  gained  a  reputation  by  his  copies  of 
the  great  masters.     He  died  in  1810. 

TROOD,  W.  H.,  British  painter;  born  in  1848; 
well  known  as  an  animal  painter ;  his  works  were 
seen  at  the  Royal  Academy  and  other  Exhibitions 
regulariy  since  1879.     He  died  in  1899. 

TROOST,  Cornelis,  born  at  Amsterdam  in  1697, 
was  the  son  of  a  wine  merchant,  and  became  a 
pupil  of  Arnold  van  Boonen,  one  of  the  best  artists 
of  the  day  ;  his  style  was  genre  subjects,  done 
chiefly  by  candle-light.  His  pupil  profited  greatly 
by  his  instructions,  and  learned  that  excellence  in 
draughtsmanship,  and  richness  in  colouring,  which 
distinguished  all  his  work.  His  inspirations  were 
drawn  rather  from  Watteau  than  from  Teniers. 
His  pictures  may  be  placed  in  four  classes  :  (1) 
Conversations  ;  (2)  Comic  subjects  ;  (3)  Portraits  ; 
(4)  Military  subjects.  The  first  bear  all  the 
206 


impress  of  Watteau's  influence,  but  are  dressed 
characteristically  in  Dutch  costume,  hence  his 
sobriquet,  "the  Dutch  Watteau."  His  Comic  sub- 
jects portray  the  current  amusements  and  customs 
of  his  country,  and  are  strikingly  easy  and  natural. 
His  Portrait  groups  are  quite  remarkable  for  touch 
and  high  finish.  In  almost  all  the  Halls  of  the 
Great  Trading  Companies  of  Amsterdam  and 
Rotterdam  are  picture-groups  of  historical  value. 
His  Military  subjects  remind  us  of  the  work  of 
Franz  Hals.  The  Garde  de  Corps,  and  other  sub- 
jects, had  in  him  an  exact  delineator  of  uniform, 
position,  and  equipment.  He  worked  in  gouache, 
pastel,  and  in  oil  with  equal  facility.  He  also  did 
some  excellent  mezzotints,  and  scratched  many  fine 
plates  with  the  graver,  and  made  good  use  of  the 
etching-needle.  Troost  married  in  1720.  He  was 
elected  a  burgess  of  Amsterdam  in  1726.  His  best 
work  was  done  between  1730-50.  He  died  in  1750. 
Happily  he  signed  and  dated  almost  all  his  pic- 
tures, studies,  and  plates  ;  they  are  to  be  seen  in 
great  numbers  in  the  Netherlands  and  in  Germany. 
Among  his  chief  works  are: 

Amsterdam.  E.  Museum.     Two  Portraits  of  himself. 

„  „  Alexander  the   Great  at  the 

Battle  of  the  Granicus. 
„  „  The  Anatomy  Lesson. 

„  „  Three  Chiefs  of  tlie  Surgeons' 

Guild  at  Amsterdam  in  1731. 
„  „  The  Governors  of  the  Asylum 

called    the    '  Aalmoezenier- 
sweeshuis.' 
„  „  Portraits  of  Inspectors  of  the 

Collegium  Mei.licorum,  Am- 
sterdam.    1724. 
„  „  Children     playing     with     a 

Monkey. 
London.  Hampton  Court.     A  Guard-room. 
Rotterdam.  JIuseum.     L'Accouch6e. 

The  Hague.         Museum.     Nine     Scenes    from     Dutch 
Comedies. 
„  „  The  Meeting  at  the  House  of 

Biberius.  (Forming  a  series 
of  five  pictures  called  the 
'Nelri,'  from  the  initial  let- 
ters of  the  Latin  inscriptions 
on  the  frames.) 
„  „  The  Deceived  Lovers. 

„  „  The  Wedding  of  Kloris  and 

Roosje. 
„  „  Portrait  of  himself. 

„  „  The  Epiphany  Singers. 

„  ,,  The  Love  Song. 

We  have  a  few  plates  by  Troost,  chiefly  mezzo- 
tints ;  among  them  the  following : 

Portrait  of  Pietro  Locatelli,  Painter. 
Bust  of  an  old  Man  with  a  Beard.     1734. 
A  Girl  drawing  by  the  Light  of  a  Lamp. 
A  Woman  on  the  Steps  of  a  Door,  holding  a  light,  and 
taking  leave  of  a  Gentleman  in  black. 

Sara,  the  daughter  of  Cornelis  Troost,  was  bom 
at  Amsterdam  in  1731.  She  painted  pastel  portraits, 
and  made  drawings  from  her  father's  pictures  and 
from  those  of  Steen,  Dou,  and  Dujardin.  She  be- 
came the  wife  of  Ploos  van  Amstel,  and  died  at 
Amsterdam  in  1803.  E.  S. 

TROOST,  WiLHELMDS,  portrait  and  landscape 
painter,  was  born  at  Amsterdam  in  1685.  He  was 
a  pupil  of  Johann  Glauber,  but  went  to  Diisseldorf 
to  complete  his  studies,  and  there  married  the 
daughter  of  J.  Van  Nikkelen,  painter  to  the  court. 
After  visiting  several  German  courts,  he  returned 
to  his  own  country.  He  painted  for  twelve  j'ears 
at  Haarlem,  and  afterwards  settled  at  Amsterdam. 
He  occasionally  painted  portraits,  but  chiefly  de- 


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voted  his  time  to  landscapes,  both  in  oil  and  Indian 
ink  ;  the  latter  are  considered  valuable.  His  style 
in  landscape  partakes  of  that  of  his  first  master, 
Glauber.  He  died  at  Amsterdam  in  1759.  His 
wife,  Jacoba  Maria  van  Nikkelen,  was  also  a 
painter ;  she  had  been  a  pupil  of  Van  der  Mijn,  and 
excelled  in  fruit  and  flower-pieces.  E.  S. 

TROOSTWIJK,  WoHTER  Johannes  van,  a  land- 
scape and  cattle  painter,  born  at  Amsterdam,  May 
28,  1782,  studied  drawing  under  Anthonie  Andries- 
sen,  and  painting  under  Jurriaan  Andriessen.  His 
pictures  have  a  resemblance  to  those  of  Paul  Potter, 
Karel  Du  Jardin,  and  Adrian  Van  de  Velde,  and  some 
are  worthy  to  rank  with  theirs.  He  practised  in 
Amsterdam,  where  he  died  September  20,  1810. 
There  are  landscapes  by  him  in  the  Museums  of 
Amsterdam  and  Rotterdam. 

TROPPA,  GiROLAMO,  painter,  flourished  in  Italy 
about  1700.  He  was  a  successful  imitator  and 
probably  a  pupil  of  Maratti.  He  left  many  works 
in  Rome,  both  in  oil  and  fresco,  and  painted  in  the 
church  of  S.  Giacomo  delle  Penitenti,  in  competi- 
tion with  Romanelli.  In  the  Copenhagen  Gallery 
there  is  a  '  Penitent  Magdalen  '  by  hira. 

TROSCHEL,  Hans,  a  German  engraver,  born  at 
Nuremberg  about  1592,  was  a  disciple  of  Peter 
Iselburg,  but  afterwards  studied  in  Italy  under 
Francesco  Villauiena.  His  style,  however,  is  in- 
ferior to  that  of  Villamena,  and  his  plates,  though 
neat,  are  stiff  and  laboured.  He  engraved  emblems 
after  various  Italian  masters,  as  well  as  frontispieces 
and  other  plates  for  books,  together  with  some 
portraits ;  among  the  latter  one  inscribed,  Fortunius 
Idcetus,  Philosoph.  He  frequently  marked  his 
plates  with  a  cipher  composed  of  an  H  and  a  T, 

thus,  JY.     He   died   in   1633.      He  sometimes 

added  the  figure  of  a  thrush  to  his  monogram,  in 
allusion  to  his  name.     Among  his  works  are : 

The  Conception  ;  after  CasUlli. 

The  Emperor  Julian  ;  after  11  Pomerancio ;  and  the 
Portrait  of  Louis  XIV. 

TKOSCHEL,  Peter  Paul,  son  of  Hans  Troschel, 
practised  at  Nuremberg  about  the  year  1650,  and 
appears  to  have  been  chiefly  employed  by  the  book- 
sellers. He  engraved  some  frontispieces  and  other 
book  ornaments,  which  are  executed  with  the  graver 
in  an  indifferent  style.  He  usually  marked  hia 
plates  with  the  initials  P.T.   He  was  living  in  1661. 

TROSO  DA  MONZA.     See   Monza. 

TROST,  Andreas,  engraver  and  painter  of  homely 
subjects,  was  a  native  of  Carniola,  and  flourished 
about  the  year  1680.     He  usually  marked  his  plates 

with  the  cipher   "3,.     He  was  living  in  1695. 

TROST,  CoRNELis.     See  Troost. 

TROTTER,  S—  C— ,  an  Irish  portrait  painter, 
who  flourished  in  the  second  half  of  the  18th  cen- 
tury, is  chiefly  to  be  remembered  for  his  portraits 
of  Dr.  Johnson,  one  of  which  was  engraved  in  1784. 

TROTTER,  Thomas,  an  English  engraver  and 
draughtsman,  born  in  London  about  the  middle  of 
the  18th  century.  Brought  up  to  trade,  he  pre- 
ferred art.  After  some  instruction  from  Blake, 
he  engraved  a  few  plates  after  Stothard,  and  ob- 
tained a  considerable  reputation  for  his  portraits. 
Failure  of  sight  compelled  him  in  his  later  years  to 
give  up  engraving,  and  to  devote  himself  to  archi- 
tectural and  antiquarian  draughtsmanship.  He  died 
at  Westminster,  February  14,  1803.  Amongst  his 
best  plates  are: 


Lord  Morpeth  ;  after  Sir  J.  Reynolds.     1787. 

Dr.  Shipley,  Bisbop  o£  St.  Asaph  ;  after  the  same.    1792, 

TKOTTI,  Giovanni  Battista,  Cavahere,  called 
II  Malosso,  was  born  at  Cremona  in  1555,  and 
brought  up  in  the  school  of  Bernardino  Campi,  of 
whom  he  was  the  most  distinguished  disciple.  He 
was  employed  by  the  court  of  Parma,  in  conjunc- 
tion with  Agostino  Carracci ;  and  though  the  works 
of  the  latter  were  preferred,  Agostino  allowed  that 
he  had  found  in  Trotti  "  a  hard  bone  to  crack,"  on 
which  account  he  acquired  the  name  of  II  Malosso. 
Perhaps  it  was  from  a  desire  to  perpetuate  this 
acknowledgment  of  his  ability  by  Agostino  Car- 
racci, that  he  inscribed  one  of  his  pictures  Jo. 
Baptista  Trottus  dictus  Malossus  Cremon.faciebat 
an'.  aparUt.  Virginis,  1594.  Other  pictures  by  him 
are  :  '  The  Decapitation  of  St.  John  the  Baptist,'  in 
S.  Domenico,  at  Cremona ;  a  '  Conception,'  in 
San  Francesco  Grande,  at  Piacenza  ;  a '  Crucifixion,' 
in  the  Duomo  at  Cremona;  and  a 'Descent  from 
the  Cross,'  in  the  Brera,  Milan.  His  best  works  are 
his  frescoes  in  the  cupola  of  S.  Abhondi,  after  de- 
signs by  Campi,  and  in  the  Palazzo  del  Giordani, 
at  Parma.  For  these  he  was  rewarded  with  the 
title  of  Cavaliere.  One  of  his  last  works  was  a 
'PietJi,'  in  the  church  of  S.  Giovanni  Novo,  at 
Cremona,  which  bears  the  date  1607. 

TROTTI,  Edclide,  a  native  of  Cremona,  who 
lived  in  the  16th  century,  was  the  nephew  and 
pupil  of  Giovanni  Battista  Trotti,  whose  manner  he 
successfully  imitated,  as  may  be  seen  by  two  pic- 
tures in  S.  Sigisniondo  at  Cremona.  An  '  Ascension ' 
in  S.  Antonio  at  Milan  is  also  ascribed  to  this  artist. 
He  died  young  in  prison,  where  he  was  confined  on 
a  charge  of  high  treason. 

TROUGHTON,Thomas,  draughtsman  and  painter, 
practised  towards  the  middle  of  the  18th  century. 
A  voyage  to  Africa,  on  which  he  set  out  in  1747, 
resulted  in  his  shipwreck  on  the  coast  of  Morocco, 
and  his  detention  in  slavery  for  thirty-three  years. 
On  his  liberation  and  return  to  England  he  pub- 
lished an  account  of  his  experiences.  He  died  in 
1797. 

TROUILLEBERT,  Paul  DfeiRfi. French  painter ; 
born  in  Paris  in  1829,  where  he  became  a  pupil  of 
Hdbert  and  also  of  Jalabert  ;  he  painted  genre, 
portraits,  and  landscape  with  success,  and  in  the 
Dumas  Collection  a  picture  by  him  had  the  distinc- 
tion of  being  mistaken  for  a  Corot,  an  error  which 
formed  the  subject  of  a  law-case.  He  exhibited 
regularly  at  the  Salon,  his  'Baigneuses'  in  1882 
attracting  much  notice.  He  died  in  Paris,  June 
28,  1900. 

TROUVAIN,  Antoine,  a  French  engraver,  born 
at  Montdidier  in  1656.     His  plates  are  executed 
entirely  with  the  graver,  which  he  haiidled  with 
great  neatness  and  dexterity,  and  his  prints  pro- 
duce a  very   pleasing  effect.     He  was  a  pupil  of 
Gerard  Edelinck,  and  became  an  Academician  in 
1707.     He  died  in  Paris  in  1710.     Among  others, 
we  have  the  following  prints  by  him  : 

Pierre  Daniel  Huet,  Bishop  of  Avranches.     1695. 
Francois  le  Boutellier,  Bishop  of  Troyes. 
Jean  Pesne,  Painter  and  Engraver.     1698. 
Reu6  Antoine  Houasse,  Painter ;  after  Tortehat. 
Jean  Jouvenet,  Painter ;  after  a  picture  by  himself. 
The  Chanoine  Claude  du  Moliuet ;  after  a  drawing  by 

himself. 
Armaude  de  Lorraine  d'Harcourt,  Abbesse  de  Soissoas. 

{His  best  plate.) 
The  Annunciation  ;  after  Carlo  Maratti. 
Christ  restoring  Sight  to  the  Blind  ;  after  Ant.  Coypel. 
The  Marriage  of  Marie  de'  Medici  with  Henry  IV. ,  and 

207 


A  BIOGRAPHICAL  DICTIONARY  OF 


the  Minority  of  Louis  XIII. ;  after  the  pictures  liy 
Rubens  in  the  Louvre, 
Silenus  drunk ;  after  A  nt.  Coypel. 

TROUV^,  Nicolas  Eog^ine,  painter,  was  born  in 
Paris  in  1808.  He  was  a  pupil  of  Berlin  and  of 
Picot,  and  entered  the  6cole  des  Beaux  Arts  in 
1827.  He  exhibited  landscapes  and  village  scenes 
at  the  Salon  from  1836  onwards,  and  gained  a  medal 
in  1846.     He  died  in  1886. 

TROY,  FRANgois  db,  painter,  born  at  Toulouse  in 
1645,  was  the  son  of  Nicolas  de  Troy,  from  whom 
he  received  the  first  rudiments  of  design.  He  was 
sent  to  Paris  when  young,  became  a  disciple  of 
Nicolas  Loir,  whose  sister  he  married,  and  for  some 
time  applied  himself  to  the  study  of  historical 
painting.  In  1674,  he  became  a  member  of  the 
Academy  in  Paris,  painting  Mercury  and  Argus 
for  his  reception  picture.  The  brilliant  success  of 
Claude  Le  Fevre  as  a  portrait  painter  induced  him 
to  attach  himself  to  that  more  lucrative  branch  of 
art.  In  1693  he  was  appointed  a  professor  at  the 
Academy,  and  in  1708  Director.  He  was  sent  by 
Louis  XIV.  to  the  court  of  Munich,  to  paint  the 
portrait  of  Maria  Christiana,  of  Bavaria,  afterwards 
Dauphiness  of  France,  which  was  placed  in  the 
Apollo  gallery  of  the  Louvre.  The  portrait  of 
Franijois  de  Troy,  painted  by  himself,  is  in  the 
gallery  of  artists  at  Florence,  his  portrait  of  Mansart 
is  at  Versailles,  and  that  of  the  Due  de  Maine  at 
Dresden.  The  galleries  of  Angers,  Grenoble,  Mar- 
seilles, Montpeilier,  Orieans,  Rouen,  Toulouse, 
Troyes,  and  Valenciennes  also  possess  examples  of 
his  work.  A  good  example  of  his  art  in  the  Jones 
Collection  at  South  Kensington  is  ascribed  to 
Watteau.  Very  many  of  his  pictures  have  been 
engraved,  and  he  himself  has  left  an  etching  of  the 
Catafalque  for  the  funeral  of  Maria  Theresa,  the  wife 
of  Louis  XIV.,  which  took  place  in  1683.  He 
died  in  Paris  in  1730. 

TROY,  Jean  de,  painter,  born  at  Toulouse  in 
1640,  was  the  eldest  son  of  Nicolas  Troy,  whom  he 
succeeded  as  painter  to  the  municipality.  It  has 
been  asserted  by  Toulousain  historians  that  henever 
quitted  his  native  town,  but  from  a  statement  in  the 
'  Histoire  66n6rale  du  Languedoc,'  it  appears  that 
he  obtained  permission  from  the  States  of  the  Pro- 
vince, and  a  grant  of  money,  towards  the  establish- 
ment of  an  Art  Academy  at  Montpeilier  in  1679, 
and  it  is  probable  that  he  settled  and  died  there. 
The  date  of  his  death  is  unknown.  At  the  Toulouse 
Museum  there  is  a  '  Conception '  by  him ;  at 
Montpeilier,  in  the  Palais  de  Justice,  '  Louis  XIV., 
supported  by  Justice  and  Religion  ;  '  and  in  the 
Basilique  de  S.  Pierre  '  The  Charge  to  Peter,'  and 
'  S.  Peter  healing  the  Paralytic' 

TROY,  Jean  FRANgois  de,  painter,  the  son  of 
FranQois  de  Troy,  was  born  in  Paris  in  1679.  After 
receiving  the  instruction  of  his  father,  until  he  had 
made  considerable  progress  in  art,  he  competed 
without  success  for  the  prix  de  Rome,  and  his  father 
sent  him  to  Italy  at  his  own  cost.  His  stay  was 
prolonged  by  the  Marquis  de  Villaoerf,  who  procured 
him  a  royal  pension  for  four  years.  He  reluctantly 
returned  to  France,  by  his  father's  desire,  in  1708, 
and  soon  afterwards  was  made  a  member  of  the 
Academy.  He  was  employed  by  Louis  XIV.,  for 
whom  he  painted  a  series  of  cartoons  for  tapestry, 
representing  the  history  of  Esther ;  and  several 
large  allegorical  subjects  for  the  Hotel  de  Ville. 
He  also  carried  out  some  decorative  work  for  the 
hotels  of  Samuel  Bernard  and  M.  de  la  Lire,  and 
for  the  Seignorial  chapel  at  Passy.  In  1719  he  be- 
208 


came  a  professor,  and  in  1727  took  part  in  the  com- 
petition ordered  by  the  king  between  the  Acade- 
micians, sharing  a  prize  with  Le  Moine.  In  1738, 
the  king  apiiointed  him  Director  of  the  French 
Academy  at  Rome,  where  he  completed  a  second 
set  of  tapestry  cartoons,  consisting  of  seven  scenes 
from  the  '  History  of  Jason.'  These  were  exhibited 
in  the  Apollo  Gallery  of  the  Louvre  in  1748.  Some 
fancied  grievance  against  the  court  caused  de  Troy 
to  resign  his  Roman  appointment  in  favour  of 
Natoire,  and  he  was  on  the  eve  of  returning  ta 
France,  when  he  died  suddenly  at  Rome  in  1752. 
Of  his  easel  pictures  the  following  are  in  French 
galleries  : 

Besan<;on.  Museum.     Portrait    of     the    Marquis    de 

Marignan ;     and     two     other 

portraits. 
Dijon  „  Pilate  wa.shing  his  hands  before 

the  People. 
Montpeilier.  „  Apollo      and      Diana     slaying 

Niobe's  Children. 
Nancy.  .,  Diana  in  the  Bath. 

Nismes.  „  The  Reaper ;  and  two  others. 

Orleans.  .,  Portrait  of  the  Abbe  Desfriches. 

Paris.  Louvre.     Henri  IV.  presiding  at  the  first 

Chapter  of  the  Ordre  du  Saint 

Esprit. 
„  La  Caze  Coll.     A  Female  Head  with  powdered 

hair. 
„  Portrait  of  a  Man. 

„  Portrait  of  an  fichevin. 

Rouen.  Museum.     Portrait  of  the  Duchesse  de  la 

Force. 

TROY,  Nicolas  de,  painter,  was  born  at  Toulouse 
early  in  the  17th  century,  and  studied  in  his  native 
town  under  Clialette.  He  subsequently  went  to 
Paris,  and  entering  the  atelier  of  Claude  Lefebvre. 
he  became  a  successful  painter  of  portraits.  After 
a  sojourn  of  some  years  in  the  capital,  he  returned 
to  Toulouse,  and  endeavoured  to  establish  a  life- 
school,  but  provincial  prudery  took  fright  at  the 
idea  of  nude  models,  and  the  enterprise  had  to  be 
abandoned.  Troy  nevertheless  gathered  round  him  a 
large  circle  of  pupils,  his  two  sons  being  among  the 
most  distinguished  of  his  scholars.  After  the  death 
of  Chalette,  he  succeeded  to  the  post  of  municipal 
painter.  His  works,  which  were  numerous  inhis 
native  town,  nearly  all  perished  in  the  Revolution. 
In  the  Toulouse  Museum  there  is  a  portrait  of  Pierre 
Godolin,  a  poet  of  Languedoc,  by  him.  The  date 
of  his  death  is  not  known. 

TROYA,  Felix,  a  Spanish  painter,  born  at  San 
Felipe,  near  Valencia,  in  1660.  He  was  a  disciple 
of  Gaspar  de  la  Huerta,  and  painted  history.  His 
pictures,  which  are  to  be  found  in  almost  every 
church  and  public  building  in  the  neighbourhood  of 
Valencia,  are  more  remarkable  for  vigour  of  colour 
than  correctness  of  design.  His  best  works  are  in 
the  church  of  S.  Agostino,  at  Valencia,  where  he 
died  in  1731. 

TROYEN,  RoMBOUT  van.    See  Troijen. 

TROYON,  Constant,  a  prominent  member  of 
the  modem  French  landscape  school,  was  born  at 
Sfevres  on  August  28,  1810.  His  father  was  em- 
ployed in  the  porcelain  manufactory,  but  dying 
when  his  son  was  only  seven  years  old,  lie  left  him 
to  the  care  of  his  mother,  and  of  a  relative,  M. 
Riocreux,  who  was  the  Keeper  of  the  Porcelain 
Museum.  Madame  Troyon  was  a  skilful  artist  in 
feathers,  and  made  beautiful  little  artificial  birds, 
resplendent  with  gems,  for  the  decoration  of  ladies' 
toilettes.  She  taught  her  son  the  values  of  colour 
and  form,  whilst  M.  Riocreux  gave  him  his  first 
serious  lessons  in  drawing.     Flower  subjects  and 


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PAINTERS  AND  ENGRAVERS. 


foliage  first  engaged  his  attention  ;  but  he  aimed 
at  higher  things,  and  he  devoted  himself  to  land- 
scape. One  day,  however,  as  Troyon  was  sketch- 
ing at  St.  Cloud,  he  fell  in  with  Camille  Roqueplan, 
who,  later  on,  introduced  him  to  Theodore  Rousseau, 
Camille  Flere,  Diaz,  and  Jules  Duprt?.  His  first 
appearance  at  the  Salon  was  in  1833,  when  he 
exhibited  '  La  Maison  Colas,  Sevres ' ;  '  Fete  at 
Sevres ' ;  and  ■  A  Nook  in  the  Park  of  St.  Cloud.' 
These  were  more  or  less  marked  by  the  influence  of 
David.  Young  Troyon  now  set  out  upon  his  travels 
through  the  countiy  of  Limousin,  Cologne  and 
Brittany ;  and  his  next  contributions  to  the  Salon 
were  very  much  more  satisfactory — indeed  for  '  A 
Country  Fair  in  Limousin'  he  was  granted  a  medal 
of  the  third  class.  '  Tobit  and  the  Angel,'  exhibited 
in  1841,  received  warm  eulogy  from  Th^ophile 
Gautier,  who  spoke  of  his  tones  as  "  like  little  bits 
of  mosaic."  For  several  years  his  subjects  were 
taken  from  the  country  in  the  neighbourhood  of 
Paris,  and  throughout  his  life  his  brush  was  chiefly 
inspired  by  French  scenery.  Frequent  visits  to 
Fontainebleau,  and  to  artist  community  there, opened 
out  to  him  the  art  of  the  Romancists,  and  his  work 
underwent  a  complete  transformation.  '  Forest 
Landscape '  and  '  Beneath  the  Trees  ' — shown  at 
the  Salon  in  1844 — were  the  vanguard  of  almost 
all  that  followed.  A  trip  to  Holland  and  Belgium 
in  1847  introduced  him  to  the  famous  animal 
painters  of  those  countries ;  but  it  was  primarily 
due  to  his  S&vres  friends,  MM.  Louis  Robert  and 
A.  Charropin,  that  he  began  at  Barbizon  to  intro- 
duce animals  into  his  compositions.  At  P6re 
Ganne's  he  was  thrown  in  contact  with  Jean  Fran- 
cois Millet  and  Charles  Jacque.  The  Exhibition 
of  1849  revealed  Troyon  in  his  new  character;  his 
pictures  of  sheep  gained  for  him  the  decoration  of 
Chevalier  of  the  Legion  of  Honour.  Cattle  pictures 
quickly  followed,  and  in  them  he  displayed  quite 
clearly  what  Paul  Potter,  Albert  Cuyp,  and  Rem- 
brandt had  done  for  him.  'The  Duck  Pond,' 
•Morning,'  'Oxen  going  to  Work,'  'Pastures  in 
Normandy,'  and  many  others,  affirmed  his  art  and 
fixed  his  style.  Honours  flowed  in  upon  him,  and 
after  the  Universal  Exhibition  of  1865,  the  tide  of 
public  opinion  turned  enthusiastically  in  his  favour. 
Instead  of  a  paltry  sum  of  300  francs,  he  was  now 
offered  as  much  as  6000  francs  for  an  animal  pic- 
ture. In  1859  he  added  dogs  to  his  cattle  and 
sheep,  and  had  great  success  with  '  The  Pointer 
checked," The  Shepherd's  Dog,' and  'The  Keeper.' 
He  was  elected  a  member  of  the  Amsterdam 
Academy  in  1847,  and  received  the  Cross  of  tlie 
Belgian  Order  of  Leopold  in  1861.  Notwithstand- 
ing his  success  Troyon  remained  modest,  affable, 
and  generous.  Although  naturally  gay,  and  blest 
with  an  athletic  constitution,  his  sole  delight  was 
his  art.  Once  when  asked  whether  he  thought 
there  was  such  a  thing  as  luck  in  the  painter's 
career,  he  replied  promptly  :  "  There  is  nothing  of 
the  kind  in  true  painting."  His  industry  was  un- 
tiring. He  seldom  devoted  himself  continuously 
to  a  single  picture,  but  had  many  works  in  various 
stages  of  progress  at  the  same  time.  So  assiduously 
did  he  work  that  at  one  period  his  sight  was  endan- 
gered. He  died  in  Paris,  March  20,  1865.  His 
palette  was  very  simple — natural  sienna,  yellow- 
lake,  burnt-umber,  brown-red,  vermilion,  Indian- 
yellow,  Veronese-green,  emerald-green,  Prussian- 
blue,  ivory-black,  Naples-yellow,  yellow-ochre, 
cobalt-blue,  and  flake-white.  He  used  his  colours 
in  their  natural  state,  and  only  rarely  applied  spirit 
VOL.  V.  p 


Montpellier.     Museum, 


of  turpentine  and  the  Courtrai  drying  medium. 
As  for  the  palette  itself,  he  cared  very  little ;  he 
rarely,  if  ever,  cleaned  it,  but  allowed  his  pigments 
to  dry  hard.  On  the  other  hand,  he  was  most 
careful  about  his  brushes  ;  he  liked  old  ones  better 
than  new.  He  preferred  to  draw  with  his  brush, 
and  made  little  use  of  his  pencil  and  his  crayon. 
The  painter  par  excellence  of  impressions  and 
sentiments,  he  worked  very  rapidly,  and  cared  very 
little  about  sesthetic  effects.  His  hand  was  so 
facile  that  three,  or  at  most  four,  strokes  and 
touches  were  sufficient  to  express  his  idea.  His 
pictures  are  at  present  chiefly  in  the  possession  of 
private  collectors.  The  following  works  by  him 
are,  however,  to  be  found  in  public  Galleries : 
Amiens.  Museum.    View  from  the  Pare  de  Neuilly. 

Bordeaux.         Museum.     Oxen  going  to  Work. 
Havro.  Museum.     Sheep  in  a  Landscape. 

„  „  Landscape  at  Sunset. 

Lc'ipsic.  Museum.     Cows  at  Pasture.     185L 

Lille.  Museum.     Forest  Scene  at  Fontainebleau. 

London.     Wallace  Coll.     Watering  Cattle. 

Cattle  in  Stormy  "Weather. 
The     Drinking-Place     of      La 
Toucue.      {A  masterpiece.) 
,,  „  Landscape.wlth  Cattle  drinking. 

Nantes.  Museum.     Cattle.     1852. 

„  „  The  Watering-place. 

Paris.  Louvre.     Oxen  going  to  Labour.     1855 

(A  masterpiece.) 

„  „        The  Eeturn  to  the  Farm.  1859. 

Rouen.  Museum.     Cows  drinking.  E.  S. 

TRUCHOT, ,  a  French  painter  of  landscapes 

and  architectural  views,  of  whose  life  little  is 
known ;  he  died  in  1823.  Among  his  recorded 
pictures  are,  a  '  View  of  Canterbury  Cathedral ' ; 
'View  of  St.  Michael's  Mount,  in  Normandy'; 
'  Abelard  reading  a  letter  from  Eloisa,'  and  '  Eloisa 
in  Prayer  before  an  Altar ' ;  '  The  Grand  Staircase 
of  the  Palais  Royal '  ;  and  '  Henry,  Count  de  Bou- 
change,  in  a  Cloister.'  Some  of  his  pictures  have 
figures  by  Xavier  Le  Prince. 

TRUCHY,  L.,  a  French  engraver,  was  born  in 
Paris  in  1731,  and  settled  in  London.  He  engraved 
twelve  plates  in  conjunction  with  Guillaume 
Philippe  Benoist,  from  Joseph  Highmore's  designs, 
in  illustration  of  'Pamela';  'A  Village  Dance,' 
after  Teniers,  and  several  plates  for  Boydell.  He 
died  in  London  in  1764. 

TRUESDELL,  Gaylord  Songston,  painter,  was 
born  in  1850  at  Waukegan,  Illinois.  He  began 
his  career  as  a  lithographic  artist  in  St.  Louis, 
Chicago,  and  Philadelphia.  He  then  went  to  Paris, 
and  studied  painting  under  Cormon,  E.  Frire,  and 
Moreau.  His  first  exhibit  at  the  Salon  was  the 
'Chair-mender'  in  1886.  In  1889  he  gained  a 
bronze  medal  at  the  International  Exhibition  for 
'The  Shepherd  and  his  Flock.'  'Going  to  the 
Pasturage,'  exhibited  at  the  Salon  in  1890,  is  now 
in  the  Corcoran  Art  Gallery  at  Washington.  In 
1892  he  gained  a  second-class  medal  for  'The 
Shepherd's  Dinner'  and  'Cattle  at  the  River's 
Edge.'  Though  Truesdell  was  best  known  as  a 
successful  animal  painter,  he  also  painted  a  few 
portraits.  He  died  in  New  York  on  June  13, 
1899.  M.H. 

TRUFFIN,  Philippe,  (or  Philippot,)  one  of  the 
best  painters  of  the  school  of  Touruai,  was  a 
pupil  of  Louis  le  Due  in  1457.  He  was  received 
master  painter  in  1461,  and  was  Dean  of  the  Cor- 
poration in  1479  and  1504.  In  1474  he  engaged 
to  paint  an  altar-piece  for  the  church  of  Warchin, 
which  the  contract  bound  him  to  make  in  every 
respect  equal  to  a  '  History  of  St.  Anthony '  exe- 

209 


A  BIOGRAPHICAL  DICTIONARY  OP 


cuted  by  liim  for  the  church  of  St.  Catharine  at 
Tournai.  The  result  seems  to  have  failed  to 
satisfy  the  parishioners,  for  they  cited  him  to 
answer  for  its  shortcomings  before  the  magistrates. 
Truffin  had  a  large  following  of  pupils,  who  came 
to  his  atelier  not  only  from  neighbouring  cities, 
but  even  from  Spain.  He  died  at  Tournai  in  1506 
or  1507. 

TRUMBULL,  John,  born  at  Lebanon  in  Con- 
necticut about  1756,  worked  at  art,  and  afterwards 
■went  to  the  University  of  Cambridge,  U.S.  Shortly 
after  leaving  college  he  painted  a  '  Battle  of  Cannaj,' 
■which  attracted  much  attention.  He  served  with 
distinction  in  the  War  of  Independence  as  ad- 
jutant to  Washington  and  Gates.  In  1778  he  re- 
tired with  the  rank  of  colonel,  and  in  1780  went 
to  London  to  study  under  Benjamin  West.  In 
London  he  painted  his  '  Battle  of  Bunker's  Hill,' 
and  'The  Death  of  Montgomery  at  Quebec'  In 
1789  he  returned  to  America,  where  he  painted  a 
'Sortie  from  Gibraltar,'  'Burgoyne's  Capitulation,' 
'  Cornwallis'  Capitulation,'  and  portraits  of  many 
heroes  of  the  War  of  Independence.  He  received  a 
commission  to  paint  four  historical  pictures  for 
the  Capitol  at  Washington,  and  eventually  became 
President  of  the  Academy  of  Arts  at  New  York. 
He  died  at  New  York  in  1843. 

TRUTOWSKY,  Konstantin  Alexandro^witsch, 
Russian  painter  ;  born  January  28,  1827,  in  Kursk  ; 
studied  at  the  Academy  of  St.  Petersburg  and  also 
at  Charkof.  At  first  he  became  a  teacher  at  the 
School  of  Engineering,  and  then  by  degrees  adopted 
painting  as  a  profession.  He  is  known  by  his 
spirited  pictures  of  Russian  national  life,  often 
touched  with  quaint  humour.  In  18G1  he  was 
elected  a  member  of  the  Academy  of  St.  Petersburg. 
He  died  in  September  1893. 

TSCHAGGENY,  Charles  Philogene,  French 
painter ;  born  May  26,  1815,  at  Brussels  ;  became 
a  pupil  of  E.  Verboeckhoven  ;  for  two  years,  in 
1848  and  1849,  he  was  at  work  at  Oxford  and 
London,  where  as  a  painter  of  horses  he  was  much 
appreciated.  His  '  Lastpferde '  is  in  the  Leipzig 
Museum,  and  his  'Flemish  Wedding'  may  be  seen 
at  the  Neuenburg  Art  Museum  ;  the  Brussels 
Museum  has  his  '  Postwagen  in  den  Ardennen,' 
and  there  is  an  example  of  his  work  at  South 
Kensington  in  his  'Episode  aufdem  Schlaclitfelde.' 
He  obtained  a  Brussels  gold  medal  in  1845,  the 
Leopold  Order  in  1851,  and  a  like  distinction  in 
1875.     He  died  at  Brussels,  June  13,  1881. 

TSCHAGGENY,  Edmond  J.  B.,  painter,  was  bom 
at  Brussels  in  1818.  He  was  a  pupil  of  E.  Ver- 
boeckhoven, and  became  well  known  for  his  studies 
of  animals,  to  which  he  chiefly  devoted  himself. 
Among  his  best  known  works  are  a  series  of  100 
water-colour  drawings,  entitled  'The  Anatomy  of 
Cattle,'  'A  Horse  in  a  Burning  Stable,'  'Giotto 
drawing  his  Sheep,'  '  Oxen  at  a  Ford,'  '  Arabs  with 
Cattle,'  &c.  He  died  at  Brussels  in  1873. 
TSCHEDRIN.  See  Schtsedein. 
TSCHERMEZOW,  Iwan,  draughtsman  and  en- 
graver, was  born  at  Petersburg  about  1730.  He 
was  a  pupil  of  G.  F.  Schmidt,  and  engraved  several 
portraits,  among  them  the  Empress  Elizabeth,  after 
Tocque  ;  Iwan  Scluiwaloff,  after  Rotari ;  his  own 
portrait ;  and  that  of  the  actor  Wolkow. 

■TSCHERNEZOW,  Greqor  and  Nicanor,  brother 
painters,  were  born  in  Russia,  and  studied  at  the 
Petersburg  Academy.  Nicanor  visited  the  Caucasus 
in  1830-1831,  and  the  Crimea  in  1834-1835,  and 
brought  away  above  five  hundred  drawings  of 
210 


Bcenery,  buildings,  and  costumes  in  these  districts. 
In  1838  the  two  brothers  explored  the  Volga  from 
Ribinsk  to  Astrakhan,  and  in  1841  they  visited  Italy, 
painting  many  pictures  in  oils  and  water-colours 
of  Florence,  Rome,  and  Naples.  Gregor  died  at 
St.  Petersburg  in  1865. 

TSCHERNINGK,  David,  a  German  engraver, 
who  flourished  about  the  year  1639.  He  engraved 
several  frontispieces  and  other  plates  for  books, 
which  are  executed  with  the  graver  in  a  slovenly 
style. 

TSCHERNINGK,  Johann,  of  the  same  family 
with  David  Tscherningk,  engraved  portraits  and 
other  plates  for  books  in  a  neat,  formal  style.  He 
was  alive  In  1634.  A  portrait  painter  of  the  name 
of  Andreas,  probably  of  the  same  family,  flourished 
in  1660. 

TSCHERNINGK,  Johann,  engraver  and  pub- 
lisher, son  of  Johann  Tscherningk,  was  living  in 
1685. 

TSCHESKI,  Iwan  Wassiliewitsch,  engraver, 
was  born  at  Mohilew  in  1770,  and  became  a  member 
of  the  Imperial  Russian  Academy.  By  him  we 
have,  '  The  Interior  of  the  Temple  at  Jerusalem,' 
after  Worobiew,  and  a  landscape,  after  Poussin. 
He  also  engraved  several  plates  after  designs  by 
Tilesius  for  Krusenstern's  '  Journey  round  the 
World.'     He  died  at  St.  Petersburg  in  1848. 

TUAIRE,  Franqois,  painter,  was  bom  at  Aix, 
Provence,  in  1794,  and  sent  at  the  age  of  fourteen 
to  Paris,  where  he  studied  under  Prudhon,  and 
afterwards  worked  in  Paris  as  a  teacher.  He 
painted  a  '  Venus  and  Cupid '  for  the  Empress 
Josephine,  and  a  '  Psyche  in  Prison '  for  which  he 
received  a  gold  medal.  In  the  Aix  Museum  there 
is  a  portrait  of  Louis  XVIII.  by  him.  He  died  in 
1823 

TUBACH,  Paul,  a  Flemish  painter  of  the  16th 
century,  who  was  attached  to  the  suite  of  Margaret 
of  Austria,  in  1526.  He  is  mentioned  in  an  old 
document  as  having  made  the  designs  for  some 
glass-paintings  in  the  church  of  Our  Lady  of 
Seven  Sorrows,  near  Bruges. 

TUBIERES,  PHiLirrE  C.  A.  de.    See  Caylus. 

TUCCARI,  Giovanni,  born  at  Messina  in  1667, 
was  the  son  and  pupil  of  Antonio  Tuccari,  an  ob- 
scure painter.  He  excelled  in  painting  battles  and 
skirmishes,  and  possessed  extraordinary  facility  of 
execution.  Many  of  his  works  are  in  Germany. 
He  died  of  the  plague  in  1743. 

TUCCI,  BiAoio  d' Antonio,  was  a  Florentine 
painter,  born  1446,  who  assisted  Perugino  in  the 
decoration  of  the  Palazzo  della  Signoria.  He  died 
in  1515. 

TUCCI,  Giovanni  Maria,  painter,  was  a  member 
of  the  school  founded  at  Siena  by  Sodoma.  He 
accompanied  his  master  to  Pisa  in  1542,  and  assisted 
him  in  some  of  his  works  there.  He  painted  chiefly 
for  the  churches  of  Siena  and  its  neighbourhood, 
where  many  of  his  pictures  still  exist. 

TUCKER,  Nathaniel,  an  English  portrait 
painter,  practising  in  London  between  1740  and 
1760.  Some  of  his  works  were  engraved  by  Johan 
Faber  the  younger. 

T  UDOT,  Louis  Edmond,  painter  and  lithographer, 
was  bom  at  Brussels  in  1805,  of  French  parents. 
He  was  a  pupil  of  Gros,  and  in  1836  founded  the 
Art  School  of  Moulins  (AUier),  of  which  he  became 
the  professor.  He  was  the  author  of  several 
technical  manuals,  illustrated  by  his  own  designs. 
He  died  at  Moulins,  December  8,  1861. 

TUER,  Herbert,  an  English  portrait  painter  of 


COSIMO  TURA 


Han/sttingl p/wlo]  [Berlin-  Gallery 

THE  JIADONNA  AND  CHILD  WITH  SAINTS 


PAINTERS  AND  ENGRAVERS. 


the  17th  century.  H^-  was  of  good  family ;  his 
mother  was  related  to  George  Herbert,  the  poet. 
During  the  Commonwealth,  he  migrated  to  Holland, 
where  he  practised,  and  is  supposed  to  have  died  at 
Utrecht  before  1680.  He  painted  many  portraits 
of  his  relatives.  There  are  by  him  : 
LoiLdon.  Kat.  Portrait  \  Sir  Leoline  Jenkins.     {Painted  at 

Gallery.  J      Nimeguen.) 
Oxford.   Jesus  College.     Sir  Leoline  Jenkins.     {Duplicatt 
of  the  first.) 

TDILERIES,  Bernard  des.    See  Palisst. 

TULDEN.     See  Thdlden. 

TDLL,  N ,  landscape  painter,  was  the  master 

of  Queen  Elizabeth's  School,  Borough.  He  painted 
portraits  and  rustic  scenes,  and  made  drawings  in 
black  and  white  chalk.  He  exhibited  with  the 
Society  of  Artists  in  1761,  and  six  plates  were  en- 
graved after  him  by  Vivares  and  EUiott.  He  died 
in  1762. 

TULLIO  DA  PERUGIA,  an  Italian  painter  of  the 
13th  century,  who  in  1219  journeyed  to  Assisi  to 
paint  a  portrait  of  Saint  Francis.  No  trace  remains 
of  the  portrait,  which  is  said  to  have  borne  this 
inscription  :  lo  Tullio,  pittore  di  Pernqia,  essendo 
etato  guarito  da  questo  beafo  huomo,  F.  Francesco 
d' Assisi,  di  una  qrandissima  apoplesia,  sono 
andato  quest'  anno  MCGXIX  al  capitolo  delle  store 
alia  Al.  deli  Angeli,  et  ho  fato  il  presente  s2io 
ritratto  sopra  di  lui  per  divocione  ehe  io  ho  in 
questo  beato  huomo. 

TUNICA,  JoHANN  Christian  Ludwiq,  painter, 
born  at  Brunswick  in  October  1795.  After  com- 
pleting his  studies  at  the  Dresden  Academy  under 
Rosier,  he  returned  to  Brunswick  to  practise,  and 
became  painter  to  the  court.  He  occasionally 
painted  genre,  but  his  principal  works  were  por- 
traits of  distinguished  living  persons  and  historic 
characters.  Among  those  of  the  latter  class  we 
may  mention  his  portrait  of  the  Elector  Palatine 
Heinrich,  for  the  '  Rittersaal '  at  Hanover.  His 
eon  and  pupil,  Hermann,  is  well  known  in  Bruns- 
wick as  a  painter  of  battle-pieces  and  horses. 

TUNNER,  Joseph,  painter,  was  born  at  Griiz  in 
1792.  He  first  studied  at  the  Academy  in  Vienna, 
then  at  Prague  under  Fiihrich,  and  afterwards  at 
Rome,  where  he  devoted  himself  to  religious  paint- 
ing. In  1840  he  was  appointed  director  of  the 
picture  gallery  in  the  "  Johanneum  ''  at  Griiz.  Uis 
'Crucifixion'  is  in  the  church  of  S.  Antonio  at 
Trieste.     He  died  in  1877. 

TUNNICELLI,  Jacopo,  painter,  bom  at  Villa- 
franca,  near  Verona,  in  1784,  studied  under  Saverio 
della  Rosa,  and  at  the  Academy  of  Milan,  and 
became  one  of  the  first  miniaturists  of  hia  day. 
He  also  painted  a  few  oil  pictures.  He  died  in 
1825. 

TUR.\,  (or  TuRRA,)  Cosimo,  also  known  as  CosmS 
DA  Ferrara,  or  CosME  Ferrarese,  was  born  at 
Ferrara,  in  all  probability  about  the  year  1432, 
although  most  older  writers  place  the  date  of  this 
event  as  early  as  1420.  Of  his  early  history  we 
know  little  or  nothing,  but  it  seems  fairly  certain 
that  he  acquired  his  first  artistic  training  in  the 
comparatively  new-born  school  of  his  native  city, 
and  very  possibly  in  the  bottega  of  his  elder 
contemporary,  the  now  little-known,  but  in  his 
own  day  not  uninfluential,  master,  Galasso 
Golassi.  Whatever  may  have  been  the  facts 
regarding  his  early  education  and  development, 
Tura  must  have  been  in  the  full  and  independent 
exercise  of  his  profession  by  1451,  in  which  year 
we  find  him  already  working  for  the  ducal  family 


of  Este.  He  appears  soon  after  to  have  left 
Ferrara  for  a  considerable  period  of  time,  a  part, 
at  least,  of  which  was  probably  spent  in  Venice 
and  in  Padova,  where  he  was  enabled  to  come  in 
frequent  contact  with  such  artists  as  Mantegna, 
the  influence  of  whose  manner  is  distinctly  visible 
in  all  Tura's  later  works.  In  1465  Tura  was 
evidently  again  in  his  native  city,  for  from  that 
date  onwards  we  find  him  in  the  almost  continual 
service  of  the  Dukes  of  Ferrara,  who  appear  to 
have  remained,  up  to  the  end  of  his  career,  the 
unchanging  and  generous  patrons  of  his  art. 
Although  the  greater  part  of  the  more  important 
works  which  Tura  executed  during  this  latter  half 
of  his  life  are  now  lost,  the  original  records  and 
commissions  for  not  a  few  of  them  still  remain  to 
us.  Some  of  them  go  to  show  that  the  painter's 
duties  toward  his  ducal  masters,  however  arduous 
and  constant,  did  not  leave  him  without  spare 
time  in  which  to  serve  other  patrons  as  well. 
Thus,  among  various  demands  upon  his  industry, 
he  was  commissioned,  in  1456,  to  paint  a  standard 
for  the  Guild  of  Tailors,  and  not  long  afterwards 
received  an  order  for  a  picture  of  the  '  Nativity  of 
Christ'  from  the  superintendent  of  the  Cathedral 
at  Ferrara.  In  1467  we  find  him  at  work  upon  a 
number  of  cartoons  for  tapestries,  as  well  as 
occupied  with  certain  other  commissions  for  the 
studio  of  the  Duke  of  Ferrara.  In  1458,  after 
some  years  of  tried  service,  he  was  officially  pro- 
moted to  a  fixed  and  permanent  position  as 
Painter  to  the  Fen-arese  Court.  In  1468  he  had 
already  completed  a  series  of  frescoes  for  the 
Sacrato  Chapel,  in  the  Church  of  S.  Domenico, 
and  it  was  probably  during  this  same  year  that  he 
commenced,  in  company  with  his  not  less  gifted 
friend  and  rival,  Francesco  Cossa,  the  decoration 
of  the  Palazzo  Schifanoia — Duke  Ercole's  famous 
pleasure-house  at  Ferrara.  The  two  artists  seem 
to  have  been  occupied  for  a  long  period  upon  this 
remarkable  work,  and  to  have  enjoyed  the  help  of 
a  goodly  number  of  assistants.  The  greater  part 
of  the  frescoes  with  which  they  adorned  the  walls 
of  the  celebrated  palace  have  long  since  disap- 
peared, but  the  damaged  fragments  which  still 
exist  in  the  upper  hall  of  the  building — consisting, 
in  the  main,  of  allegorical  subjects  and  scenes 
from  the  everyday  life  of  Duke  Borso's  Court — are 
of  the  greatest  value  and  interest,  not  only  on 
account  of  their  decorative  charm  and  artistic 
merit,  but  for  their  minute  and  realistic  details  of 
contemporary  costume  and  architecture,  and  the 
exceptionally  truthful  insight  which  they  give  us 
as  to  the  customs  and  manners  of  their  day.  In 
1469  Tura  finished  the  two  fine  organ  shutters  for 
the  Cathedral  of  Ferrara,  which  can  still  be  seen 
hanging  in  the  choir  of  that  edifice.  His  next 
commission  of  importance  appears  to  have  been 
the  decoration  of  the  library  of  the  Picos  of 
Mirandola,  soon  after  which,  in  1471,  he  was 
engaged  in  ornamenting  the  new  chapel  of  Duke 
Ercole's  country-seat  of  Belriguardo.  In  1472  he 
painted  the  portraits  of  Ercole  and  his  natural 
daughter  Lucrezia  d'Este,  as  a  present  to  the 
Duke's  future  bride,  Leonora  of  Arragon.  In  1481 
he  is  known  to  have  executed  a  number  of  subjects, 
"  in  oil,"  for  the  ducal  study — works  which  seem 
at  a  Liter  period  to  have  been  replaced  by  other 
paintings  by  Giovanni  Belhni  and  by  Titian, 
Four  years  later,  in  1485,  he  was  commissioned, 
in  his  quaUty  of  Court  painter,  to  execute  the 
likeness  of  Duke  Ercole's  daughter,  Isabella,  for 

211 


A  BIOGRAPHICAL  DICTIONARY  OF 


her  affianced  husband,  Francesco  Qonzaga,  Mar- 
quis of  Mantua,  and  in  the  same  year  he  painted 
the  portrait  of  Isabella's  younger  sister  Beatrice, 
as  a  Christmas  gift  for  the  little  Duchess'  future 
bridegroom,  Lodovico  Sforza  (II  Moro),  of  Milan. 
We  possess  no  later  records  of  his  activity  as  a 
painter,  but  there  is  no  reason  to  doubt  that,  despite 
his  approaching  old  age,  he  continued  in  the 
exercise  of  his  art  up  to  1495,  in  which  year  he 
died,  leaving,  for  some  undefined  reasons,  large 
legacies  to  tlie  poor  of  Venice,  and  a  sum  of  money 
for  the  erection  of  a  church  in  his  native  city  of 
Ferrara. 

Like    his    fellow     Ferrarese    and    their    near 
neighbours    the    Paduans,   Tura    constantly   dis- 
plays a  passionate  fondness  for  architectural  and 
otiier  details    and    accessories— a  love   which    is 
occasionally    carried     almost    to    excess.      As   a 
colourist    he   is   unequal,    at    times    producing   a 
series  of  contrasts  more  crude  and   violent  than 
pleasing ;    at   otliers,   however,    his   colouring   is 
both    temperate   and    subdued,    and    reaches    an 
extraordinary  depth  and  body.  His  technical  hand- 
ling is  remarkable  alike  for  its  extreme  carefulness 
and  its  wonderful  enamel-like  finish.     As  a  master 
of  spacing   and   composition   he   has   few   rivals 
among  the    artists  of  his  time.     Of  the   various 
panel-paintings  by  Tura  which  remaiu  to  us,  the 
splendid   altar-piece,    once   in   the   Church   of   S. 
Lazzaro  at   Ferrara,   and  now  in  the   Gallery  at 
Berlin,  is  the  most  important.     This  truly  great 
work  displays  to  the  full  the  grand  qualities  of 
Tura's  art,  his   deep  seriousness  of  purpose,  his 
monumental  dignity  of  conception,  and,  most  of 
all,  that  peculiarly-developed  sense  of  architectural 
composition  whicli  was  so  remarkable  a  character- 
istic of  the  earlier  Ferrarese  painters,  and  of  which 
we  find  hardly  less  interesting  examples  in  another 
of  Tura's  paintings,  the  'Enthroned  Virgin  and 
Child  with  Angels '  in  the  National  Gallery,  and 
in  such  works  as  the  majestic  altar-piece  by  Ercole 
Eoberti,  once  in  Sta.  Maria  in  Parto  at  Ravenna, 
now  in  the  Brera  at  Milan,  not  to  mention  some  of 
the  earlier  creations  of  Lorenzo  Costa  and  other 
contemporary  Ferrarese.     A  convincing  example 
of  Tura's  genius  for  the  successful  filling  of  space 
is  to  be  found  in  the  striking  lunette  of  the  Pieti, 
now  in  the  Gallery  of  the  Louvre.     One  of  the 
master's  most  beautiful  works  is  the  large  panel 
of  the    'Annunciation' — one   of  the   two    organ- 
shutters   painted   in    14C9 — in   the    Cathedral    at 
Ferrara.     Here  he  has  avoided  much  of  the  often 
excessive  harshness  and  severity  of  type  which 
to  so  many  constitutes  the  less  pleasing  element 
of  his   art,  and   rises  to   a   level   of  exceptional 
beauty  in  the  heads  and  figures  of  the  Angel  and 
the  Virgin.     The  pendant  to  this  picture,  repre- 
senting '  St.  George  combating  the  Dragon,'  is  also 
a   highly-interesting   work.      Fine    specimens   of 
Tura's  sculpturesque  treatment  of  single  figures 
are   to   be   met   with   in   the  Beato  Jacopo  della 
Marca,  in  the  Santini  Collection  at  Ferrara,  and  in 
the  noble  'St.   Jerome'  of  the  Communal  Gallery 
of  that  city.     Another  very  characteristic  work  of 
the  master  is  the  vigorously-conceived,  and  equally 
energetically-executed,  panel  of  '  St.  Jerome  in  the 
Wilderness,'  once  in  the  Costabili  Collection  at 
Ferrara,  and  now  in  the  National  Gallery.     Still 
another  very  typical    example   of  Tura's   deeply 
individual   style  is   the  exquisitely-finished   little 
picture   of  the  Piet&,  in   the   Correr   Museum   at 
,  Venice. 
212 


Tura  still  remains  a  much-neglected  master 
whose  appeal  is  to  the  few  ratlier  than  to  the' 
many,  and  who  is  still  far  from  receiving  the 
share  of  attention  which  is  so  rightfully  his  due. 
List  of  more  important  works : 

Bergamo.      Lochis-Car-  )  ,r  j  j  ,-n.-i  i 

rara  Gallery,  j  Madonna  and  Child. 
Berlin.  Museum.     St.  Christopher. 

»>  ,,  St.  Sebastian. 

»  ,,  Enthroned      Madonna      with 

Saints. 
Ferrara.  Cathedral.    St.   George  and  the   Dragon. 

{Organ-doar.) 
"  ,.  Annunciation.     (Orqan-door.) 

Communal  Gall.    Two  Scenes  from   Life  of  St. 
Maurelius. 
«  ^   ^    »  St.  Jerome. 

,,  Santini  Collection.     Beato  Jacopo  della  Marca. 
Florence.  Mr.  Berenson.     St.  Peter. 

J,  „  St.  John  Baptist. 

Milan.       Foldi-Pezzoli)   .  _.  , 

Collection.  j^^''^°T^- 
London.  National  Gall.     St.  Jerome. 

I.  It  Madonna  and  Angels. 

>.  >,  Tlie  Virgin. 

Taris.  Louvre.     Pieta. 

«  „  A  S.nint. 

'B.OTae.Marchesa  Pnsseri.     Circumcision. 
,,         Contessa  di  Sta.  )  ,  ,       ..         .  ,,     . 
Flora.  \  Adoration  of  Magi. 

„       Prince  Colonna.    Bishop     Roverella     and     SS. 
Maurelius  and  Paul. 

It  „  Annunciate  Virgin. 

t)  .  „  Virgin  and  Child. 

Venice.  Carrer  Masenm.     Pieti. 

„  Lady  Layard.     Allegorical  Figure.  J,  Q 

TDRBIDO.     SeeToRBiDO. 

TURCHI,  Alessandko,  called  L'Orbetto  and 
Alessandro  Veronese,  was  born  at  Verona  in 
1582.  He  is  said  to  have  acquired  the  name  of 
L'Orbetto,  from  having  been  employed,  when  a  boy, 
as  conductor  to  a  blind  beggar.  A  more  probable 
explanation  is  given  by  Passeri,  who  says  that  he 
was  so  called  from  a  defect  in  oneof  his  eyes.  In 
his  poverty  he  was  noticed  by  Eiccio  (Brusasorci), 
who  discovered  in  him  so  decided  a  gift  for  art, 
that  he  took  him  under  his  protection.  On  leaving 
the  school  of  Riccio,  he  went  to  Venice,  where  he 
worked  for  a  time  under  Carlo  Cagliari,  and  after- 
wards to  Rome.  In  competition  with  Andrea  Sacchi 
and  Pietro  da  Cortona,  he  painted  some  pictures  in 
the  church  of  La  Concezione,  as  well  as  several 
altar-pieces  for  other  churches,  of  which  the  best 
are,  a  'Flight  into  Egypt,'  in  S.  Romualdo ;  a 
'  Holy  Family,'  in  S.  Lorenzo  in  Lucina ;  and  a  '  S. 
Carlo  Borromeo,'  in  S.  Salvatore  in  Lauro.  He 
was  much  employed  on  cabinet  pictures,  repre- 
senting historical  subjects,  which  he  frequently 
painted  on  black  marble.  He  died  at  Rome  in  1648 
or  1650.  His  two  pupils,  Giovanni  Ceschini  and 
Giov.  Bat.  Rossi,  practised  at  Verona,  the  former 
painting  copies  of  his  master's  works,  which  were 
often  taken  for  originals.  Other  works  : 
Dresden.  Gallery.     The  Nativity  ;  and  two  others. 

Hague.  MiLseum.    Venus,  an  allegory. 

Madrid.  „  A  Penitent  Magdalene. 

,.  „  Flight  into  Egypt. 

Milan.  Brera.    M.idonua  adored  by  a  Pope. 

Munich.      Pinakothek,     Hercules  aud  Ompbale. 

„  „  Hercules  Mad. 

„  „  Salome. 

Paris.  Louvre.    Samson  and  Delilah. 

„  „  The  Woman  taken  in  Adultery. 

„  „  Death  of  Cleopatra. 

Petersburg.  Hermitage.    Christ  bearing  the  Cross. 

„  „  Bacchus  and  Ariadne. 

Verona.  Museum.    The  Nativity  ;  and  two  others. 

Vienna.  Gallery.    The  Entombment. 


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PAINTERS  AND  ENGRAVERS. 


TURCO,  Cesare,  born  at  Iscliitella,  Naples,  about 
the  year  1510,  was  first  a  disciple  of  Giovanni 
Antonio  d'Amato,  but  afterwards  studied  under 
Andrea  Sabbatini.  He  painted  for  the  churches 
and  public  buildings  of  Naples.  An  altar-piece,  in 
S.  Maria  delle  Grazie,  representing  the  Baptism  of 
Christ  by  St.  John  ;  and  a  '  Circumcision,'  in  the 
Jesuits'  church,  may  be  mentioned.  Turco  died  at 
Naples  about  1560. 

TURK,  The.    See  Liotarp. 

TURMEAU,  John,  miniaturist  and  portrait 
painter,  was  born  at  Liverpool  in  1777.  His 
grandfather,  Allan  Turmeau,  also  a  painter,  was 
a  Huguenot.  Turmeau,  who  was  trained  at  the 
Royal  Academy,  combined  the  practice  of  art  with 
a  stationery  business,  and  held  a  good  position 
locally  as  a  miniaturist.  He  was  a  member  of  the 
Liverpool  Academy  from  its  formation  in  1810 
until  1832,  President  in  1812  and  1813,  Treasurer 
from  1824:  to  1832;  and  he  contributed  to  its 
Exhibitions  until  1812.  Turmeau  married  in  1807, 
and  died  at  Liverpool  in  September  1846.  The 
sculptor  John  Gibson  was  indebted  to  Turmeau 
for  material  aid  at  the  outset  of  his  career.  A  bust 
by  Gibson  of  Turmeau,  and  the  artist's  miniature 
portrait  of  himself,  are  in  the  possession  of  his  grand- 
son, Charles  Turmeau,  of  Liverpool.  Turmeau's 
miniatures,  many  of  notable  Liverpool  people  of 
his  day,  are  of  much  excellence.  E.  R.  D. 

TURMEAU,  John  Caspar,  the  son  of  John 
Turmeau,  born  in  1809  ;  an  architect  who,  as  John 
Turmeau,  junior,  exhibited  architectural  subjects 
at  the  Liverpool  Academy  from  1827  to  1832.  In 
this  last  year  he  showed  eight  Italian  architectural 
subjects,  several  "coloured  on  the  spot,"  the 
produce  of  a  visit  to  Italy  probably  consequent 
on  ill-health,  during  which  he  visited  his  father's 
friend  John  Gibson.  He  also  showed  '  Design  for 
the  Interior  of  a  Mausoleum.'  He  died  unmarried 
at  the  residence  of  his  father  in  1834.         E.  K.  D/ 

TURNER,  Charles,  one  of  the  most  eminent  of 
English  engravers,  was  born  at  Woodstock  in  1773. 
He  entered  the  Academy  in  1795,  and  at  first 
worked  for  Boydell  in  Bartolozzi's  style.  He  after- 
wards turned  his  attention  to  mezzotint,  and  aqua- 
tint with  a  partial  use  of  the  point,  and  produced 
a  large  number  of  fine  plates.  He  was  particularly 
successful  as  an  interpreter  of  Turner,  for  whom  he 
engraved  twenty-three  numbers  of  the  '  Liber 
Studiorum.'  In  1828,  having  already  been  appointed 
mezzotinto  engraver  in  ordinary  to  the  King,  he 
was  elected  an  associate  engraver  of  the  Royal 
Academy.  He  died  in  London,  August  1,  1857. 
His  principal  works  are  : 

Charles  X.  ;  after  Lawrence. 

The  Duke  of  York  ;  after  the  same. 

The  Marquis  of  Anglesey  ;  after  the  same. 

Lady  Georgiana  Fane ;  after  the  same.     {From  the  picture 

in  the  yational  Gallery.) 
Duke  of  Newcastle ;  after  the  same. 
James  Watt  ;  after  the  same. 
Sir  Robert  Peel ;  after  the  same. 
Sir  Walter  Scott ;  after  liaeburn. 
Lord  Newton  ;  after  the  same. 
Mme.  Malibrau  as  Desderaoua ;  after  Decaisne. 
The  Cottage  Girl ;  after  Gainshorotigh. 
The  Spanish  Contrabandista  ;  after  J.  F.  Lewis. 
Eembrandt's  Mill ;  after  Rembrandt. 
Mecsenas's  Villa  ;  after  Ridmrd  Wilson. 
The  Satyr  and  the  Traveller  ;  after  JorJaens. 
The  Choir  of  Westminster  Abbey,  during  the  coronation 

of  George  IV. ;  after  F.  Xash.    {Home  of  these  were 

printed  in  colour.) 
The  Marlborough  Family ;  after  Reynolds. 
The  Age  of  Innocence  ;  after  the  same. 


The  Little  Fortune-Tellers ;  after  the  same. 

The  Beggar ;  after  Owen. 

The  Wreck  ;  after  Tamer. 

The  plates  in  the  '  Liber  Studiorum '  engraved  by 
Charles  Turner  are  the  following  :  Bridge  and  Cows ; 
Woman  and  Tambourine ;  Flint  Castle  ;  Basle  ;  Jason ; 
Straw-yard  ;  Oakh.impton  Castle  ;  St.  Gothard  ;  Ships 
in  a  Breeze  ;  Holy  Island  Cathedral ;  Pembury  Mill ; 
Sun  between  Trees  ;  Dunstanborough  Castle  ;  Lake 
of  Thun  ;  The  Fifth  Plague ;  Farm-yard  with  Cock  ; 
Falls  of  Clyde  ;  The  Devil's  Bridge ;  Guardship  at 
the  Nore ;  Morpeth ;  London  from  Greenwich ;  Norham 
Castle ;  lurerary. 

TURNER,  David,  an  English  draughtsman  and 
engraver,  was  born  in  the  latter  part  of  the  18th 
century.  He  learnt  his  art  from  John  Jones,  and 
devoted  himself  to  landscape,  architectural,  and 
antiquarian  subjects,  occasionally  exhibiting  at  the 
Free  Society  and  the  Academy  between  1782  and 
1801.  The  subjects  of  his  exhibited  pictures  were 
mostly  taken  from  London  and  the  Thames.  No- 
thing is  known  of  him  after  1801.  He  left  a  few 
etchings  of  Scottish  castles  and  abbeys,  one  of 
Peterborough  Cathedral,  and  one  of  St.  Ouen,  Rouen. 

TURNER,  James,  an  English  portrait  painter, 
who  practised  between  1760  and  1806.  He  fre- 
quently exhibited  with  the  Society  of  Artists  after 
1760.  In  1806  his  name  appears  in  a  catalogue 
for  the  last  time. 

TURNER,  Joseph  Mallord  William,  R.A.,  was 
born  on  April  23,  1775,  at  26,  Maiden  Lane, 
Covent  Garden,  London,  and  was  baptized  at  St. 
Paul,  Covent  Garden,  on  May  14,  1775.  He  was 
the  son  of  William  Turner  by  Mary  his  wife,  whose 
maiden  name  was  Marshall  (an  extract  from  the 
Registry  of  the  Diocese  of  London,  dated  August 
27,  1773,  shows  that  William  Turner  appeared 
personally  and  made  oath  that  he  was  of  the  parish 
of  St.  Paul,  Covent  Garden,  a  bachelor  aged  28 
years,  and  intended  marrying  Mary  Marshall  of 
the  same  parish,  spinster,  aged  34  years).  From  a 
pedigree  ex  parte  paterna  in  the  possession  of  Mr. 
C.  M.  W.  Turner,  William  Turner  was  the  second 
son  of  John  Turner  of  South  Molton,  in  the  county 
of  Devon,  and  from  another  pedigree  ex  parte 
matema,  Mary  Turner  was  the  third  child  of 
William  Marshall  by  Sarah  his  wife.  The  artist 
derived  his  name  of  Mallord  from  this  latter  lady, 
who  was  the  only  child  of  Joseph  Mallord,  junior, 
of  the  City  of  London,  citizen  and  butcher.  From 
the  records  of  the  Butchers'  Company  we  find 
that  both  he  and  his  father,  Joseph  Mallord, 
senior,  appear  in  the  Freedom  Book,  July  17, 
1670,  and  June  9,  1697.  The  issue  of  the  marriage 
of  William  Turner  with  Mary  his  wife  was  an  only 
son,  Joseph  Mallord  William,  the  artist,  and  an 
only  daughter,  Mary  Ann,  who  was  baptized  at  St. 
Paul,  Covent  Garden,  on  September  6,  1778,  and 
was  buried  in  the  same  place  on  March  20,  1786. 

Turner's  mother  had  a  brother,  Joseph  Mallord 
WiUiam  Marshall,  whose  will  bears  date  July  27, 
1804,  and  is  therein  described  as  of  Sunningwell, 
near  Abingdon,  in  the  county  of  Berks,  gentleman  ; 
and  a  sister,  Mary  Sarah,  who  married  the  Reverend 
Henry  Harpur,  formerly  curate  of  Islington,  and 
late  of  Tonhridge  in  the  county  of  Kent,  and 
grandfather  of  Henry  Harpur,  solicitor,  and  one  of 
Turner's  trustees  and  executors ;  also  a  younger 
sister,  Ann,  who  died  unmarried.  We  regret  to 
record  the  fact  that  Mrs.  Turner  died  in  a 
private  asylum  at  Islington,  and  was  buried  there. 
Turner  began  his  career  as  a  sort  of  infant  prodigy 
in  his  father's  shop.     His  earliest  known  drawing 

213 


A  BIOGRArniCAL  DICTIONARY  OF 


is  one  of  Margate  Cluirch,  made  when  he  was  nine 
years  old.  Shortly  afterwards  he  went  to  his  tirst 
school,  at  New  Brontford,  where  he  drew  trees 
and  poultry  while  his  school-fellows  did  his  suras. 
About  this  time,  too,  he  began  to  make  copies  of 
engravings,  which  were  exposed  for  sale  in  the 
barber's  window.  These  indications  of  a  call  to 
art  determined  his  father  to  give  him  such  facilities 
as  he  could.  There  is  a  vague  tradition  that  he 
spent  £200  in  placing  his  son  with  an  architectural 
draughtsman,  perliaps  Malton.  On  the  whole 
it  is  not  surprising  that  Turner  never  had  any 
facility  in  the  use  of  an  educated  man's  instru- 
ment, language.  Early  in  his  teens  he  was  em- 
ployed in  colouring  prints  for  John  Raphael 
Smith  ;  in  making  drawings  at  Dr.  Monro's,  in  the 
Ade'.phi,  and  in  the  fields  and  streets,  with  Girtin ; 
and  in  washing  in  backgrounds  for  Mr.  Porden. 
For  a  time  he  was  in  the  studio  of  Thomas  Mal- 
ton, junior,  the  arcliitect,  who  dismissed  him  for 
incapacity  to  learn  perspective — a  curious  com- 
mentary by  anticipation  on  his  appointment,  many 
years  afterwards,  as  Professor  of  Perspective  to  the 
Royal  Academy.  The  most  interesting  passage  in 
Turner's  early  life  is  his  friendship  or  acquaintance 
with  Girtin,  and  his  intense  admiration  for  that 
artist's  work.  How  great  the  degree  of  intimacy 
may  have  been  between  them  it  is  now  im- 
possible to  say,  and  so  with  Turner's  patron  and 
"  true  master,"  as  Mr.  Riiskin  calls  him.  Dr.  Monro. 
Mr.  Cosmo  Monkhouse  sums  up  the  education  of 
Turner  thus  :  "  He  learnt  reading  from  his  father, 
writing  and  probably  little  else  at  his  schools  at 
Brentford  and  Margate,  perspective  (imperfectly) 
from  T.  Malton,  architecture  (imperfectly  and  clas- 
sical only)  from  Mr.  Hardvvick,  water-colour  draw- 
ing from  Dr.  Monro,  and  perhaps  some  hints  as  to 
painting  in  oils  from  Sir  Joshua  Re3'noIds,  in  whose 
house  he  studied  for  awhile."  Like  other  men  of 
those  pre-photographic  days,  he  spent  much  of  hia 
time  in  making  topographical  drawings,  to  be  re- 
produced in  magazines,  and  he  was  less  eager  to 
shake  himself  free  from  such  work  than  one  might 
have  expected.  In  1789  he  became  a  student  of  the 
Royal  Academy,  and  the  year  after  exhibited  a  'View 
of  the  Archbishop's  Palace  at  Lambeth.'  Four  years 
later  he  received  a  commission  from  J.  Wa'ker,  the 
engraver,  to  make  drawings  for  his  '  Copperplate 
Magazine.'  Tliis  was  the  first  of  the  long  series  of 
engraved  works  for  which  he  supplied  material. 
Acting,  perhaps,  on  the  strength  of  this  commission, 
he  took  a  studio,  in  Hand  Court,  Maiden  Lane,  close 
to  the  paternal  shop.  There  he  remained  until  his 
election  as  an  Associate  of  the  Academy,  in  1799. 
Between  1790  and  1797  he  explored  nearly  all 
England  south  of  the  Humber,  as  well  aa  Wales,  in 
search  of  subjects  for  his  drawings.  So  far  he  had 
given  proof  of  taste  rather  than  of  any  more  robust 
artistic  faculty,  but  a  tour  in  the  Nortli  in  1797 
stimulated  his  powers  into  stronger  display.  Either 
during  this  tour,  or  as  a  result  of  it,  Turner  made 
the  acquaintance  of  many  who  were  afterwards 
among  the  best  of  his  friends:  Dr.  Whitaker  the 
historian  of  Whalley,  Mr.  Fawkes  of  Farnley,  Lord 
Harewood,  Sir  John  Leicester,  afterwards  Lord  de 
Tabley,  and  Mr.  Lister  Parker  of  Browshohne  Hall. 

After  Turner's  election  to  tlie  R.  A.-ship  in  1802, 
he  practically  ceased  to  make  drawings  for  en- 
gravers, and  until  the  commencement  of  the 
'Southern  Coast,'  twelve  years  later,  confined  him- 
self to  a  heading  for  the  Oxford  Almanac  and  to  a 
few  drawings  for  books.   He  marked  too  his  sense 

214 


of  his  changed  position  by  migrating  from  Hand 
Court  to  64,  Harley  Street.  It  is  to  the  work  of 
these  few  early  years  of  the  century  that  Mr. 
Ruskin  applies  the  curious  statement  that  Turner's 
manner  "is  now  stern,  reserved,  quiet,  grave  in 
colour,  forceful  in  hand.  His  mind  tranquil ;  fixed, 
in  physical  study,  on  mountain  subjects  ;  in  moral 
study,  on  the  Mythology  of  Homer,  and  the  Law 
of  the  Old  Testament."  A  sonorous  pronouncement, 
but  difficult  in  the  application.  The  truth  of  this 
time  seems  to  have  been,  that,  conscious  of  an 
unattractive  person,  he  deliberately  set  himself  to 
conquer  fame  by  those  gifts  of  imagination,  of  per- 
ception, of  manual  skill,  that  he  also  knew  to  be 
his,  and  that,  with  the  narrowness  of  his  class,  he 
could  not  separate  success  for  himself  from  the 
conquest  of  his  rivals.  Claude,  Wilson,  Nicolas 
and  Gaspar  Poussin,  Titian,  and  Vandevelde,  even 
Loutherbourg,  had  one  by  one  to  be  equalled  or 
surpassed.  This  is  the  key  to  his  choice  of 
subjects  and  their  treatment  from  the  first  year  of 
the  century  down  to  about  1830.  In  1801  he 
appears  to  have  paid  an  unrecorded  visit  to  Soot- 
land,  for  the  Academy  of  1802  contained  three 
Scotch  views.  In  1802  he  made  his  first  tour  on 
the  Continent,  and  the  year  afterwards  exhibited 
six  pictures  of  foreign  subjects,  one  of  which  was 
the  'Calais  Pier,'  in  the  National  Gallery.  In  1807 
he  besan  the  '  Liber  Studiorum,'  a  confessed  but 
completely  illogical  stroke  at  Claude's  '  Liber 
Veritatis.'  This,  according  to  his  own  prospectus, 
was  intended  "  as  an  illustration  of  Landscape 
Composition,  classed  as  follows  :  Historical,  Moun- 
tainous, Pastoral,  Marine,  and  Architectural."^  His 
method  was  to  make  sepia  drawings  of  the  subjects, 
and  then,  partly  with  his  own  hand,  partly  with 
the  help  of  professional  engravers,  to  transfer 
them  to  copper  by  a  mixed  process  of  etching 
and  mezzotint.  The  whole  series  forms  the  most 
satisfactory  monument  of  Turner's  genius.  Forced 
into  concentration  in  his  own  despite,  he  creates 
with  a  success  not  to  be  found  in  his  oil  pictures 
or  his  water-colour  drawings,  while  the  metier 
leaves  no  room  for  that  proneness  to  exceed  the 
limits  of  his  material  which  lessens  our  pleasure  in 
his  pictures.  Commercially,  the  'Liber'  was 
unsuccessful,  as  indeed  it  was  foredoomed  to  be  by 
Turner's  methods  of  doing  business.  The  publica- 
tion dragged  on  intermittently  until  1819,  when  it 
was  allowed  finally  to  drop.  The  original  plan 
was  for  a  hundred  plates,  excluding  the  frontis- 
piece. Of  these,  seventy  were  published,  while  of 
tlie  remaining  thirty,  some  were  finished,  some 
were  only  etched,  and  a  few  stopped  short  at 
sketches.  Perhaps  the  most  faultless  work  Turner 
ever  did  is  to  be  found  in  the  etchings  for  these 
plates.  The  engravers  employed  for  the  mezzo- 
tinting were  Charles  Turner,  William  Say,  Dun- 
karton,  Clint,  Easling,  Lupton,  Dawe,  S.  W. 
Reynolds,  W.  Annis,  and  Hodgetts.  The  first 
plate  executed,  however,  '  A  Bridge  and  Goats,  is 
an  aquatint,  bv  F.C.Lewis.  The  '  Liber  Studiorum 
was  fully  chronicled  by  Mr.  W.  G.  Rawhnson,  in 
whose  book  on  the  subject  he  details  all  the  states 
of  the  plates. 

Turner  strongly  objected  to  parting  with  any 
of  his  sketches.  Once  he  had  a  picture  stolen,  and 
he  went  to  Mr.  Henry  Graves,  at  whose  house  in 
South  Lambeth  he  often  dined  on  Sundays,  and 
made  a  pencil  drawing  to  illustrate  the  composi- 
tion, which  Mr.  Graves  pushed  into  his  desk  with 
the  rest  of  the  paper.     "  I  say,"  said  Turner,  "  you 


D 


> 


PAINTERS  AND  ENGRAVERS. 


are  not  going  to  run  away  with  my  drawing 
like  that,  it  will  be  worth  something  one  day." 
"Mr.  Graves  used  to  tell  another  anecdote  illus- 
trating Turner's  economy.  He  had  engaged  with 
Turner  to  make  the  drawings  for  Scott's  poems 
and  prose  works,  at  so  much  a  drawing,  and 
travelling  expenses  extra.  When  Mr.  Graves 
received  the  account,  fifteen  pounds  was  charged 
for  travelling  all  over  Scotland.  On  expressing 
surprise  at  the  amount.  Turner,  mistaking  the 
remark  for  a  complaint,  said,  "  Well,  Mr.  Graves, 
I  should  like  to  see  you  do  it  for  less."  He  must 
have  walked  nearly  the  whole  time  he  was  engaged 
in  making  the  drawings. 

From  1808  to  1811  Turner  had  a  house  at  Ham- 
mersmith. In  1812  he  moved  to  Queen  Anne  Street 
West,  to  a  house  near  the  corner  of  Harley  Street, 
which  was  pulled  down  ahout  1880.  Tliis  re- 
mained his  official  address  to  the  end  of  his  life, 
although  Solus,  or  Sandycombe,  Lodge,  at  Twicken- 
ham, is  also  given  in  some  of  the  catalogues. 
In  the  years  between  1803  and  181.5,  the  wars 
with  Napoleon  compelled  him  to  depend  on  his 
own  country  for  his  subjects,  and  his  yearly 
excursions  were  into  Devonshire  and  other  rich 
corners  of  England.  During  these  years  he  spent 
much  of  his  time  with  the  Trimmers,  at  Heston, 
about  three  miles  from  Sandycombe.  In  1819  he 
paid  his  first  visit  to  Italy,  and  from  that  moment 
dates  the  commencement  of  his  bolder  excursions 
into  colour.  Just  before  it  he  had  exhibited  such 
pictures  as  the  'Apuleia  and  Apuleius,'  and  had 
seemed,  for  the  moment,  to  be  falling  into  a 
mannered  key.  But  the  sight  of  the  Venetians  at 
home  seems  to  have  lifted  him  from  this  at  once, 
and  after  his  return  ho  began  the  series  of  works, 
in  oil  and  water-colour,  on  which  his  fame  as  a 
colourist  must  chiefly  depend.  Much  of  the  best 
work  of  these  years  was  done  for  Dr.  Whitaker's 
'History  of  Richmondshire'  (1823),  and  for  the 
'Rivers  of  England'  (1824).  In  1823  he  sent  the 
'Bay  of  Baise,  with  Apollo  and  the  Sibj-l,'  to 
the  Academy.  Together  with  the  '  Caligula's 
Palace  and  Bridge '  (1831),  and  '  Childe  Harold's 
Pilgrimage'  (1832),  it  may  be  taken  as  the  sum- 
ming up  of  the  impression  left  upon  him  by  Italy. 
In  1826  Turner  gave  up  Sandycombe  Lodge,  and 
thenceforward  spent  more  of  his  time  in  Queen 
Anne  Street,  with  no  company  but  his  father  and 
Mrs.  Danby,  his  "  housekeeper "  from  1801  to  his 
death.  His  '  Southern  Coast '  was  the  chief  pub- 
lishing enterprise  with  \vhich  he  was  at  tliis  time 
concerned,  and  his  disputes  over  it  with  Mr.  W.  B. 
Cooke  are  among  the  most  unpleasant  episodes  in 
his  life.  In  1827  the  first  part  of  his  most 
important  series,  'England  and  Wales,' was  pub- 
lished, and  a  year  later  he  was  again  in  Italy.  In 
1829  he  exhibited  his  greatest  colour  dream,  the 
'  Ulysses  deriding  Polyphemus.'  In  1830  occurred 
the  death  of  his  father,  the  greatest  sorrow, 
perhaps,  of  his  life.  In  this  same  year  the 
illustrated  edition  of  Rogers'  '  Italy '  was  pub- 
lished, to  be  followed  in  1834  by  the  '  Poems,'  both 
with  Turner's  designs.  In  1830,  too,  his  first  sub- 
jects from  Venice  were  exhibited.  In  1834—5  he 
was  at  work  on  the  series  known  as  the  '  Rivers  of 
France,'  and  four  years  later,  in  1839,  he  sent  to 
the  Academy  the  last  picture  in  which  his  full 
power  was  shown,  namely,  the  '  Fighting  T^meraire 
tugged  to  her  last  Berth.' 

During  the  last  ten  years  of  his  life  Turner's 
powers  gradually  declined  through  failing  health. 


It  was  not  a  case  of  diminution  so  much  as  of  per- 
version. His  judgment  as  an  artist  disappeared, 
and  altliough  he  could  still — he  could  perhaps  even 
more  than  ever — astonish  by  the  splendour  of  his 
dreams,  he  could  no  longer  weigh  and  create. 
During  these  last  years  his  interest  was  awakened 
by  the  new  art  of  photography,  and  he  paid  several 
visits  to  Mr.  Mayali's  studio,  incognito,  calling 
himself  a  Master  in  Chancery.  He  carried  his 
interest  in  his  new  acquaintance  so  far  as  to  lend 
him,  unasked,  a  sum  of  £300  at  a  time  when  liti- 
gation about  patents  had  brought  him  into  some 
financial  embarrassment.  About  the  same  time  he 
received  two  offers  of  £100,000  for  the  contents  of 
his  house  in  Queen  Anne  Street,  as  well  as  a  large 
offer  for  his  two  pictures  of  Carthage,  from  a  com- 
mittee which  numbered  Sir  Robert  Peel  and  Lord 
Hardinge  among  its  members.  But  having  already 
willed  his  pictures  to  the  nation,  he  declined  this 
flattering  proposal,  very  much  to  his  honour.  For 
years  before  he  died,  'Turner  had,  as  many  of  his 
colleagues  divined  rather  than  knew,  an  unacknow- 
ledged retreat  to  which  he  was  accustomed  to  be- 
take himself.  Not  even  Mrs.  Danby,  his  house- 
keeper in  Queen  Anne  Street,  knew  its  whereabouts. 
Towards  the  end  of  1851,  however,  she  discovered 
that  he  was  living,  under  the  name  of  Booth,  in 
a  small  house  at  Chelsea,  with  a  certain  Sophia 
Caroline  Booth,  whom  we  now  know  to  have  been 
a  friend  of  more  than  twenty  years'  standing. 
There,  on  Mrs.  Danby's  hints,  he  was  found  by  his 
cousin  and  executor,  Mr.  Harpnr.  Tliis  was  on 
December  18,  1851,  and  on  the  19th  Turner  died. 
He  was  buried  in  the  crypt  of  St.  Paul's,  on  the 
30th  of  the  same  month. 

Turner's  will  turned  out  to  be  so  confused  a 
document  that  it  was  the  subject  of  a  long  Chancery 
suit.  After  years  of  litigation  it  was  decided  by 
the  courts  that  the  bulk  of  his  funded  property 
and  his  rights  in  engravings  should  go  to  the  next 
of  kin,  that  the  Ro3-al  Academy  should  have 
£20,000,  and  that  all  his  pictures  and  drawings 
should  go  to  the  nation.  By  this  decision  the 
National  Collection  came  into  possession  of  some 
hundred  oil  pictures  and  about  nineteen  thousand 
drawings  in  water-colour  and  sketches.  The  fol- 
lowing list  is  restricted  to  his  more  notable  pictures, 
in  the  order  of  their  production  : 

1790.  Archbishop's  Palace,  Lambeth.   (Mrs.  Courtmdd, 

1887.) 
1792.  The  Pantheon— Morning  after  the  fire.     (P.  C. 

Hardwick;lS»7.) 

1794.  Christchurch    Gate,    Canterbury.     {Fitzinlliam 

Museum.) 

1795.  Transept  of  Tintern  Abbey.    (J.  E.  Taylor,  1S87.) 

1796.  Transept  of  Ely  Minster.     (R.  D.  Salt,  1899.) 

1797.  Clioir  of  Salisbury  Cathedral.     (J.  P.  Thompson, 

1899.) 

1798.  Refectory  of  Kirkstall  Abbey.     (Soane  3Iuseum.) 
{The  above   are  water-colour  draicin(/s.) 

1797.  Moonlight ;  study  at  Millbank.     {Xational  Gal- 

lei'i/.) 

1798.  Morning,  Coniston  Falls.     {Do.) 

1799.  Buttermere  Lake.     (Do.) 

„       Kilgarran  Castle.     (Lord  Armstrong .) 

1800.  Dolbadern  Castle.     (Royal  Academy.) 

1801.  Dutch  Boats  in  a  Gale.     (Earl  of  itlUsmere.) 

1802.  Fishermen  on  a  Lee  Shore.    (Lord  Iveagh.) 

„      Tenth  Plague  of  Egypt.     (National  Gallery.) 
„       Ships  bearing  up  for  Anchorage.     (Lord  Zecon- 

feld.) 
„       Dolbadern  Castle.     (Royal   Academy;   Diploma 

picture.) 
,.      Kilchnrn  Castle. 
(?)      His  own  Portrait.    (National  Gallery.) 

215 


A  BIOGRAPHICAL  DICTIONARY  OF 


1803.  Calais  Pier.     {National  Gallery.) 
„       The  Holy  Family.     (Do.) 

,,      Vintage  of  Ma^on.     (Earl  of  Yarlarough.) 

1804.  Boats   carrying  out  Anchors.     (Sir  Horatio  I). 

Da  vies.) 
„       Narcissus  and  Echo.     (Lord  Leconfield.) 

1805.  The  Shipwreck.     (National  Gallery.) 

1806.  The  Goddess  of  Discord  in  the  Garden  of  the 

Heaperides.     (National  Gallery.) 

1807.  Sun  rising  in  a  Mist.     (Do.) 

1808.  Death  of  Nelson.     (Do.) 

1809.  Spithead:  boat's  crew  recovering  an  anchor.  (Do.) 

1810.  Somer  Hill.     (Ralph  BrocUehank,  Esq.) 
„      Petworth.     (Lord  Leconfield.) 

1811.  Apollo  killing  the  Python.     (National  Gallery.) 
„      Whalley  Bridge  and  Abbey.     (Lady  Wantage.) 

1812.  Snowstorm:      Hannibal     crossing     the     Alps. 

(National  Gallery.) 
„      High  Street,  Oxford.     (Lady  Wantarje.) 

1813.  A  Frosty  Morning.     (National  Gallery!) 

1814.  Dido  and  Jineas  leaving  Carthage  for  the  Chase. 

{Do.) 
„      Apuleia  in  search  of  Apuleius.     (Do.) 

1815.  Bligh  Sand,  Sheerness.     (Do.) 
„       Dido  building  Carthage.     (Do.) 
,,       Crossing  the  Brook.     (Do.) 

1816.  Temple  of  Jupiter,  at  Mgrna.     (Sold   at   Wynn 

Ellis  sale,  1874.) 

1817.  Decline  of  Carthage. 

1818.  The  Field  of  Waterloo.     (National  Gallery.) 

„       Dort  Packet-boat  becalmed.    (Fatelas  Collection) 

1819.  The  Meuse ;  orange  merchantman  going  to  pieces 

on  the  bar.     (National  Gallery.) 
„      Richmond  Hill,  on  the  Prince  Eegent's  birthday. 
(Do.) 

1820.  Eome  from  the  Colosseum.     (Do.) 

1823.  Bay  of  Baiffi,  Apollo  and  the  Sibyl.     (Do.) 

1826.  Cologne;  evening.     (Mrs.  John  Naylor.) 

1827.  Now    for    the    Painter!    passengers    going    on 

board.     (Mrs.  John  Naylor.) 
„       Port  Kuysdael  (I.).     (National  Gallery.) 
„       Port  Ruysdael  (II.).     (R.  Hall  McChrmick.) 

1828.  The  Birdcage.     (National  Gallery.) 
„       Dido  building  the  Fleet.     (Do.) 

„      East  Cowes  Castle,  with  the  Regatta.    (South 
Kensington.) 

1829.  Ulysses  deriding  Polyphemus.  (National  Gallery.) 
„       Vision  of  Medea.     (Do.) 

„        The  Loretto  Necklace.     (Do.) 

1830.  Pilate  washing  his  hands.     (Do.) 
„        Orvieto.     (Do.) 

1831.  Vessel  in  distress  off  Yarmouth.     (South  Ken- 

sinifton.) 
„        Caligula's  Palace  and  Bridge.  (National  Gallery.) 

1832.  Childe  Harold's  Pilgrimage,  Italy.     (Do.) 

(?)       Van  Tromp's  barge  entering  the  Texel.     (Soane 
3lu^cum.) 

1834.  Lake  Avernus  ;  the  Fates  and  the  Golden  Bough. 

(National  Gallery  of  Ireland.) 

1835.  Mercury  and  Argus.   '(Lord  Strathcona.) 

1837.  Apollo  and  Daphne.     (National  Gallery.) 

1838.  Phryiie  going  to  the  Bath  as  Venus.      (Oldham 

Gallery.) 
„       Ancient  Italy.     (C.  Sedelmeyer.) 
,,       Modern  Italy.     (Glasgow  Gallery.) 

1839.  Agrippina  landing  with  the  ashes  of  Germanicus. 

(National  Gallery.) 
„       The  '  Fighting  T(5mi5raire '  tugged  to  her  last 

berth  to  be  broken  up.     (Do.) 
„       Modem  Rome.     (Earl  of  Eosebiry.) 

1840.  The  Slave  Ship.     (.Ili.^s  Hooper,  Boston,  U.S.) 
„       Bacchus  and  Ariadne.     (National  Gallery.) 
(?)      Venus  and  Adonis.     (Sir  Cvthhert  Quilter.) 

1842.  Peace— Burial  of  Sir  David  Wilkie.     (National 

Gallery.) 
,,       War— The  Exile  and  the  Rock  Limpet.     (Do.) 
„       Snowstorm  :  Steam-boat  making  Signals.    (Do.) 

1843.  Shade  and  Darkness  :  The  Evening  of  the  Deluge. 

(Do.) 
„       Light  and  Colour :  The  Morningaf  ter  the  Deluge. 

(Do.) 
„       Approach  to  Venice.     (Do.) 
,,       The  '  Sun  of  Venice  '  going  to  Sea.     (Do.) 

1844.  Port  Ruysdael  (III.).     (Do.) 
216 


1844.  Rain,  Steam,  and   Speed  ;  The  Great  Western 
Railway.     (National  Gallery.) 

1846.  Venice,  Morning.  Returning  from  the  Ball.  (Do.) 
„       Queen  Mab's  Grotto.     (Do.) 
„       The  Angel  standing  in  the  Sun.     (Do.) 

Turner's  water-colours  are  so  numerous  that  it 
would  here  be  impossible  to  give  a  complete  list 
of  even  the  more  important.  The  National  (Jallery 
has  five  hundred,  framed  and  so  arranged  as  to  be 
readily  accessible,  and  thousands  of  others  still 
in  tin  boxes,  from  elaborate  pictures  like  those 
for  the  '  Rivers  of  France'  to  hasty  sketches.  The 
Oxford  University  Gallery  possesses  ten  important 
early  drawings,  and  a  series  of  forty  sketches  and 
drawings  presented  by  Mr.  Ruskin.  The  National 
Galleries  of  Scotland  and  Ireland  possess  each  a 
collection  of  thirty-five  drawings  bequeathed  by 
Mr.  Henry  Vaughan.  In  the  Fitzwilliam  Museum, 
Cambridge,  there  is  a  corresponding  series,  also 
given  by  Mr.  Ruskin.     Others  are  : 

London.  S.Kensington.    Hornby  Castle,  Lancashire. 

„  „  Warkworth  Castle,  Northumber- 

land. 

„  „  Bay  of  Spezzia. 

„  „  A  Waterfall. 

„  „  Interior,  Tintem  Abbey. 

„  „  St.  Alban's  Abbey. 

„  „  Landscape,  with  a  tower  of  rock. 

,,  „  Corfe  Castle,  Dorsetshire. 

„  „  Plymouth,  from  Turn  Chapel. 

„  „  Tivoli,  Eome. 

„  „  Erighthelmstone        (Brighton). 

1794. 

„  „  Sketch  of  an  Italian  town. 

„  „  South  view  of  Salisbury  Cathe- 

dral from  the  Cloisters.  About 
1810. 

„  „  Entrance  to  the  Chapter  House, 

Salisbury  Cathedral.     1810. 
Land's  End.     (F.  Craven,  E.^q.) 
Llangollen.     (Late  C.  F.  H.  Bolckow,  Esq.) 
Bridge  over  the  Moselle.     (C.  E.  Lees,  Esq.) 
The  Rhine  above  Schaffhausen.     (Do.) 
Swiss  Pass,  storm  effect.     (Jesse  Haworth,  Esq.) 
Whitehaven.     ( ll'altcr  Dunlop,  Esq.) 
St.  Michael's  Mount.     (R.  Leake,  Esq.) 
Folly  Hill.     (Do.) 

Lucerne.     (Abraham  Haworth,  Esq.) 
Chain  Bridge  over  the  Trees.     (Do.) 
Warwick  Castle.     (Do.) 
Lucerne.     (J.  Irvine  Smith,  Esq.) 
Lancaster  Sands.     (Do.) 
Lowestoft.     (Mrs.  C.  J.  Sale.) 
The  red  Rigid.     (J.  E.  Taylor,  Esq.) 
The  blue  Eighi.     (Do.) 
Llanthony  Abbey.     (Do.) 
Derwent  Water.     (Do.) 
Dell  in  Wharfedalc.     (Do.) 
Chryses  on  the  Sea-shore.     (Bevan    Collection.) 
Village  of  Heysham,  Lancashire.    (Ruskin  Collection.) 
Lake  and  Town  of  Geneva.     (Do. ) 
Eggleston  Abbey.     (Do.) 
The  Splugen  Pass.     (Do.) 
Farnley  Hall,  from  above  Otley.     (Do.) 
Famley  Avenue.     (Do.) 
The  Crook  of  Lune.     (Rev.  W.  McGregor.) 
Knaresborough.     (John  Forbes  White,  Esq.) 
City  and  Lake  of  Constance.     (Mrs.  BrocklebaiJc.) 
Virginia  Water.     ( W.  Leech,  Esq.) 
Rivaulx  Abbey.     (A.  G.  Kurt:,  Esq.) 
Dartmouth  Cove.     (Holbrook  Gaskell,  Esq.) 
Dartmoor,     (Do.) 

Patt«rdale.     (Sir  W.  Agneic,  Bart.) 
Lancaster  Sands.     (Ayscough  Fawkes,  Esq.) 
Falls  of  the  Reichenbach.     (Do.) 
Upper  Falls  of  the  Reichenbach.     (Do.) 
Lake  of  Lucerne.     (Do.) 

The  Devil's  Bridge,  pass  of  St.  Gothard.   (Do.) 
Mont  Cenis  in  a  Snowstorm.     (Do.) 
Bonneville,  Savoy.     (Do.) 


0^ 

w 

D 

H 


PAINTERS  AND  ENGRAVERS. 


Vale  of  Ashbumham.     {Sir  A .  Acland-Hood,  Bt.) 

Norham  Castle.     (Mrs.  Thwaites.) 

Carnarvon  Castle.     (Do.) 

Bridge  over  the  Usk.     (Victoria  and  Albert  Museum.) 

Durham.     (National  Gallay  of  Scotland.) 

Fonthill.     (Sir  Charles  Tennant,  Bt.) 

Edinburgh.     (Mrs.  Bolckoxo.) 

Castle  of  Chillon.     (Miss  Sminburne.) 

Lake  of  Thun.     (Do.) 

Bonneville,  Savoy,     (Do.) 

Manburg,  on  the  Khine.     (Do. ) 

Palace  of  Bieberich,  on  the  Rhine.    (Do.) 

Tancarville,  on  the  Seine.     (Do.) 

Scarborough.     ( Wallace   Collection.) 

Grouse  Shooting.     (Do.) 

Woodcock  Shooting.     (Do.) 

Landscape  in  Yorkshire.     (Do.) 

Cologne.     (Abel  Buckley^  ^sq.) 

AVinchelsea,  from  the  road  to  Rye.     (Do.) 

Val  d'Aosta,  and  Battle  of  Fort  Rock.  (National 
Gallery.) 

Edinburgh,  from  the  Calton  Hill.     (Do.) 

A  Mountain  Stream.     (Do.) 

Ehrenbreitstein.  ('ITiomas  Brocklehank,  Esq.)  (This 
collector  also  owns  the  famous  series  of  eight  draw- 
ings  commonly  known  as  the  Abbotsford  Turners.) 

The  Marriage  of  the  Adriatic.  (Ralph  Brocklebanlc, 
E^g.)  (This  collector  also  owns  many  fine  drawings 
by  Turner.) 

The  following  are  the  principal  artistic  pub- 
lications published  in  serial  form,  containing  works 
after  Turner,  which  appeared  during  his  lifetime, 
and  with  which  he  was  concerned  : 

Walker's  '  Copper  Plate  Magazine.'     1792-1802. 
'Pocket  Magazine.'     1795-1796. 

Hewlett's  '  Views  in  the  County  of  Lincoln.'     1805. 

AVhitaker's  '  History  of  Whalley.' 

Oxford  .Umanacks.     1799-1811. 

Angus's  '  Scats  of  the  Nobility  and  Gentry.'     1800. 

'  Views  of  London  and  its  Environs.'     1804, 

'  Britannia  Depicta.'     1803-1810. 

Mawman's  *  Excursion  to  the  Highlands  of  Scotland, 
&c.'     1805. 

Britton's  '  Fine  Arts  of  the  English  School.'     1813. 

Ottley  and  Tomkins'  '  Stafford  Gallery.'     1818. 

Britton's  'Architectural  Antiquities.'     1814. 

Whitaker's  '  History  of  Craven.* 

'  Be.^uties  of  Eughmd  and  Wales.'     1801-1323. 

Whitaker's  '  History  of  Leeds.'  Loldis  and  Elmete, 
1816. 

Surtees' '  History  and  Antiquities  of  Durham.'  1816- 
1840. 

AUason's  *  Antiquities  of  Pola.'     1816. 

Cooke's  '  Southern  Coast  of  England.'     1814-1826. 

Cooke's  '  Views  in  Sussex.'     1816-1819. 

'  Rivers  of  Devon.'     1814-1819. 

Hakewill's  '  Picturesque  Tour  of  Italy.'     1820. 

Whitaker's  '  History  of  Richmondshire.'     1818-1823. 

'  Provincial  Antiquities  of  Scotland.'     1826. 

'  Picturesque  Views  in  England  and  Wales.'     1838. 

Stevenson's  *  Bell  Rock  Lighthouse.'     1824. 

'  The  Keepsake.'     1828-1837. 

'  The  Literary  Souvenir.'    1826,  1827, 1829, 1832. 

'  The  Anniversary.'     1829. 

'  The  Bijou.'     1829. 

'Friendship's  Offering.'     1830. 

'  The  Amulet.'    1831. 

Finden's  Illustrations  of  Lord  Byron.     1833-1834 

Moore's  Works  of  Lord  Byron.     1832-1833. 

Finden's  '  Landscape  Illustrations  of  the  Bible.'     1836. 

'  Italy,'  a  poem  by  Samuel  Rogers.     1830. 

Poems  by  Samuel  Rogers.     1834. 

Scott's  Poetical  Works.     Cadell,  1833. 

Scott's  Prose  Works.     Cadell,  1834. 

Turner's 'Annual  Tour.'     1833-1835. 

Macrone's  Milton.     1835. 

Campbell's  Poems.     1837. 

'Views  in  India.'     Fisher,  1833. 

Moore's 'Epicurean.'     1839. 

Illustrations  to  the  Poetical  Works  of  Sir  Walter 
Scott.     Tilt,  1834. 

Scott's  Waverley  Novels.    Fisher,  1836-1838. 

Lockhart's  '  Life  of  Scott.'    1839. 


Illustrations  of  the  '  Pilgrim's  Progress.'    Fisher,  1838. 

'  Book  of  Gems.'     1836-1838. 

'  Liber  Studiorum.'     1S07-1819. 

'Ports  of  England.'     1826. 

'  River  Scenery.'     1827. 

Britton's  '  Cassiobury  Park.'     1837. 

Marvy's  '  Sketches  after  English   Landscape  Painters.' 

1850. 
Uassell's 'Aqua  Pictura.'     1812. 
Fawkes'     '  Collection    of    Water-Colour    Drawings.' 

1819. 
'  Leicester  Gallery.'     1825. 

Turner  made  curious  terms  with  the  publishers 
of  engravings  after  his  pictures.  Besides  receiving 
a  sum  for  the  copyright  he  stipulated  for  fifty 
first  proofs  from  the  plates,  and  these  were  nearly 
intact  when  they  were  sold  at  Christie's  in  1873. 
That  he  received  money  for  copyrights  is  proved 
by  a  receipt  for  £100  for  the  '  Grand  Canal,  Venice,' 
which  receipt  is  still  in  the  possession  of  Messrs. 
Henry  Graves  and  Co.,  Limited. 

The  principal  large  plates  published  after  Turner 
are  as  follows,  including  five  plates  published  for 
him  by  Griffiths ;  the  entire  stock  of  these  plates 
were  catalogued  for  sale  in  1873,  but  were  sold  by 
private  contract  en  bloc.     They  were  : 

Caligula's  Bridge,  by  Edward  Goodall.     1842. 
Crossing  the  Brook,  by  R.  Brandard.     1843. 
Mercury  and  Herse,  by  J.  Cousen.     1842. 
St.  Mark's  Place,  Venice,  by  T.  Hollis.     1842. 
Morning  of  the  Chase,  by  )V.  R.  Smith.     1842. 

The  other  large  plates  are  : 
The  Shipwreck,  by  C.  Turner,  A.R.A.    1807. 
High  Street,  Oxford,  by  John  Pye.    1312. 
Oxford  from  Abingdon  Road,  by  John  Pye.     1818. 
Eddystone  Lighthouse,  by  T.  Lupton.   1824. 
Cologne,  by  Edward  Goodall.    1824. 
Margate,  by  T.  Lupton.     1825. 
The  Deluge,  by  J.  B.  Quilley.     1828. 
Temple  of  Jupiter,  by  John  Pye.     1828. 
Field  of  Waterloo,  by  F.  C.  Lewis.     1829. 
The  Birdcage  (Boccaccio),  by  J.  B.  Quilley.     1830. 
Pas  de  Calais,  by  W.  Davison.     1830. 
Grand  Canal,  Venice,  by  IVilliam  Miller.     1838. 
Mercury  and  Argus,  by  J.  T.  Willmore,  A.R.A.     1839. 
Kilchurn  Castle,  Lochawe,  by  William  Miller.     1840. 
Ancient  Italy,  by  J.  T.  Willmore,  A.R.A.     1840. 
Modem  Italy,  by  William  Miller.     1840. 
Regulus  leaving  Carthage,  by  D.  Wilson.     1840. 
Fighting  TiSnu-raire,  ?<y  ./.  T.  Willmore,  A.R.A.     1845. 
Ehrenbreitstein,  by  John  Pye.     1846. 
Dover,  ?.y  ./.  r.  Willmore,  A.R.A.     1850. 
Hastings,  by  Robert  Wallis.     1850. 
Zurich,  by  T.  A.  Prior.    1852. 
Lucerne,  by  Robert  Wallis.    1852. 
Neuweid,  by  R.  Brandard.     1853. 
Osterspey,  by  William  iriller.     1853. 
The  Shipwreck,  by  John  Burnet.     1853. 
Dutch  Fishing-boats,  by  John  Burnet.    1853. 
Venice,  by  William  Miller.    1854. 
Temple  of  Minerva,  by  J.  T.  Willmore,  A.R.A.    1855. 
The  Golden  Bough,  i'v  •^.  r.    Willmore,  A.R.A.    1856. 
Nelson's  Ship  at  'Trafalgar,  by  John  Burnet.    1858. 
Bellini's  Pictures,  Venice,  by  J.  T.    Willmore,  A.R.A, 

1858. 
Approach  to  Venice,  by  Robert  Wallis.     1859. 
Heidelberg,  by  T.  A.  Prior.     1861. 
Cbilde  Harold's  Pilgrimage,  by  J.  T.  Willmore,  A.R.A. 

1861. 
Dido  building  Carthage,  by  T.  A.  Prior.     1863. 
Bell  Rock  Lighthouse,  by' William  .Miller.    18&4. 
Calais  Pier,  by  Sir  F.  Seymour  Hadcn.     1865. 
St.  Michael's  Mount,  by  William  Chapman.    1866. 
Bay  of  Baise,  Apollo  and  Sibyl,  by  T.  A.  Prior.    1873. 
Sun  rising  in  a  Mist,  by   William  Chapman.    1874. 
Fighting  Tim^raire,  by  T.  A.  Prior.     1886. 
Vintage    of    Matjon.  "fy    T.   O.   Barlow,   R.A.     1890. 

(Artists^  General  Benevolent  Institution.) 
Calais  Pier,  by  Thomas  Lupton.   1892.    (Artists' General 

Benevolent  Institution.)     Engraved  earlier. 

217 


A   BIOGRAPHICAL   DICTIONARY  OF 


EIBLIOQBAPnT. 
Thomas    Miller,   'Turner    and  Girtm's    Picturesque 

Views.'     1854. 
Leitch  Ritchie  and  Alaric  A.  Watts,  '  Liber  Fluviorum, 

or  Eiver  Scenery  of  France.'     1857. 
Burnet,   Cunningham,  and   Murray,  'Turner  and  liis 

AVorks.'     1859. 
E.  N.  Womum, '  The  Turner  Gallery.'     1859. 
Walter  Thombury,  '  The  Life  of  J.  M.  W.  Tm-ner,  R.A.' 

1862.     A  new  edition,  1877. 
J.  Dafforne, '  The  Works  of  J.  M.  W.  Turner,  E.A.'  1879. 
P.  G.  Hamerton, '  The  Life  of  Turner.'     1879. 
W.  Cosmo  Wonkhoiise,  'Turner.'     1879. 
Rev.  S.  A.  Swaine, '  Ttu-ner  the  Artist.'     N.D. 
Frederick  Wedmore,  '  Turner  and  Euskin.'     1900. 
C.  M.  W.  Turner,  '  The  Family  History  of  the  late 

J,  M.  W.  Turuer,  R.A.,  viitb  Pedigrees.'     1902. 
Sir  Walter  Armstrong, '  Turner.'     1902. 
C.  A.  Swinburne,  'Life  and  Work  of  Turner.'     1902. 
0.  F.  Boll, '  List  of  the  Works  contributed  to  Public 

Exhibitions  by  Turner.'     1901. 
Robert  Cliiguell, '  J.  M.  W.  Turner,  R.A.'     1902. 
Albinia  Wherry, '  Turner.'    1903. 
Frances  Tyrrell-GUl, '  Turner.'     1904. 
The  Turner  Gallery  which  the  nation  undertook 
to  create  has  never  been  arranged  at  the  National 
Gallery,  and  the  bulk  of  the  works  of  Turner  in 
water-colour  still  remain  hidden  away  in  the  cellars 
of  that  institution.  The  expressed  wishes  of  a  great 
artist  liave  seldom  been  so  completely  disregarded 
as  have  the  clauses  of  Turnei-'s  will  in  which  he 
specially   arranged    for  the    creation  of   such  a 
gallery. 

TURNER,  William,  an  English  water-colour 
landscape  painter,  was  born  at  Blackbourton 
(Oxon.)  in  1789.  His  father  died  while  he  was 
young,  and  his  art  training  was  obtained  from  John 
Varley.  Settling  in  Oxford,  he  became  known  as 
"Turner  of  Oxford,"  and  obtained  a  large  teaching 
practice  there.  He  was  elected,  in  1809,  a  member  of 
the  Water-Colour  Society,  with  which  he  exhibited 
during  the  whole  of  his  long  career.  His  works 
also  occasionally  appeared  at  the  Academy,  at  the 
British  Institution,  and  at  Suffolk  Street.  Many  of 
his  subjects  were  taken  from  the  neighbourhood  of 
Oxford,  but  he  also  painted  the  scenery  of  Wales, 
Scotland,  and  otiier  parts  of  England.  He  died 
August  7,  1862,  having  been  an  exhibitor  for  fifty- 
four  years.  There  are  two  water-colour  drawings 
by  him  in  the  Kensington  Museum. '  Kingly  Bottom, 
Sussex,'  and  a  '  Waterfall '  (1795). 

TURONE,  (TuRONi,)  a  native  of  Verona,  who 
flourished  in  the  14th  century.  In  the  Museum  at 
Verona  there  is  an  altar-piece  by  him  in  five  panels, 
dated  1360.  It  was  formerly  in  the  Convent  of  the 
Holy  Trinity,  at  Verona.  The  centre  is  a  Trinity  ; 
on  the  side  panels  are  the  Virgin  and  Angels,  with 
four  Saints. 

TDRPILIUS,  a  Roman  painter,  (contemporary 
with  Pliny,)  who  was  the  author  of  some  fine  works 
at  Verona.  Pliny  states  him  to  have  painted  with 
his  left  hand. 

TURPIN  DE  CRISSfi,  Lancelot  Theodore, 
CoMTE  DE,  painter  and  architectural  draughtsman, 
born  in  Paris  in  1781,  was  the  son  of  the  Marquis 
de  Turpin  de  Criss6,  the  representative  of  an  old 
Angevin  family,  whom  the  troubles  of  the  Revolu- 
tion forced  to  fly  from  France.  The  elder  Turpin 
was  himself  an  amateur  of  some  distinction,  and 
had  given  his  son  his  first  instruction  in  art.  When 
the  Marquis  emigrated,  Lancelot  and  his  mother 
took  refuge  with  a  relative  in  Anjou,  where  they 
remained  in  retirement  till  the  dawning  of  more 
peaceful  times.  The  young  artist  was  taken  under 
the  protection  of  Choiseul  Gouffier,  who  took  him  to 
218 


Switzerland,  and  afterwards  sent  him  to  Rome.  He 
returned  to  France  when  the  Empire  was  estab- 
lished, and  was  patronized  by  Josephine  and  others 
in  power.  He  also  continued  to  enjoy  court  favour 
after  the  Bourbon  restoration.  In  1816  he  became 
a  member  of  the  Institute,  and  in  1824  Inspector- 
General  of  the  Fine  Arts.  On  the  fall  of  Charles 
X.  in  1830,  he  retired  into  private  life,  occupying 
himself  with  artistic  and  literary  pursuits.  In  1826 
he  published  '  Souvenirs  du  Golfe  de  Naples,'  with 
thirty-nine  plates,  and  in  1835,  '  Souvenirs  du 
Vieux  Paris,'  with  fifty  plates.  He  formed  a  col- 
lection of  antiquities  and  works  of  art,  which  on 
his  death  he  bequeathed  to  the  Museum  of  Angers. 
He  died  in  1852.  He  exhibited  a  large  number  of 
works  at  the  Salon,  and  the  following  have  found  a 
permanent  placa  in  French  galleries  : 

Angers.  Museum.     Syrinx  pursued  by  Pan. 

„  „         View  of  the  Temple  of  Vesta  at 

Tivoli. 
Lisieux.  „  Study  of  Trees. 

Marseilles.  „  View  at  Roquebrnne. 

Nantes.  „  Entry  of  the  Austrian  Emperor 

into  Venice. 

TURPIN,  Pierre  Jean  FRANgois,  painter  of 
natural  history  in  water-colours,  was  born  at  Vire  in 
1775,  and  was  self-taught.  He  made  upwards  of 
six  thousand  drawings  in  water-colour  on  vellum, 
which  were  engraved  by  Soellier,  Pl^e,  Bouquet, 
Coutant,  Massard,  and  others,  for  works  on  natural 
history.  Among  those  so  illustrated  may  be  named, 
the  travels  of  Humboldt  and  Bompland ;  '  Les 
Plantes  de  la  Nouvelle  Caledonie  ; '  '  Les  Icones,' 
of  M.  Decandolle  ;  '  L'lconographie  Vt^getale  : ' 
'  L'Atlas  du  Dictionnaire  des  Sciences  Naturelles  ; ' 
'  La  Flore  M^dicale  ; '  and  Didiamel's  treatise  on 
Fruit  Trees.     He  died  in  Paris,  May  2,  1840. 

TURRITL     See  Torriti. 

TUSCHER,  Karl  Marcus,  painter,  etcher,  and 
architect,  was  born  at  Nuremberg  in  1705.  Wal- 
pole  says  he  was  painter  aud  architect,  while  Fiissli 
calls  him  painter,  copper-plate  engraver,  sculptor, 
carver  in  wood,  and  gem  engraver.  Ho  was  the 
natural  son  of  a  lacemaker,  and  was  brought  up  in 
the  hospital  for  orphans,  at  Nuremberg.  He  was 
afterwards  placed  under  J.  D.  Preisler,  with  whom 
he  remained  about  ten  years.  From  the  school  of 
Preisler  he  went  to  Italy,  on  an  allowance  from  the 
municipality,  and  was  emploj'ed  by  Stosch  at 
Leghorn,  to  make  di'awings  from  gems.  In  1741 
he  visited  France,  England,  and  Holland.  In 
England  he  made  the  acquaintance  of  the  Danish 
traveller,  H.  v.  Norden,  for  whose  'Travels  in 
Egypt  and  Nubia,'  published  in  London  in  1757, 
he  engraved  some  plates,  one  of  which  is  inscribed 
F.  L.  Norden  del.  M.  T.  fecit,  1748.  Most  of  his 
plates  are  marked  with  his  name  in  full,  and  consist 
of  historical  subjects,  portraits,  vignettes,  and  other 
book  illustrations.  From  .England  Tuscher  went 
to  Copenhagen,  where  he  became  a  professor  at 
the  Academy.  He  died  in  1755.  In  the  Copen- 
hagen Gallery  there  is  a  '  Sappho  and  Cupid '  by 
him. 

TUSON,  G.  E.,  painted '  The  Reception  of  a  Depu- 
tation from  the  Corporation  of  Manchester  by  the 
Sultan,  in  Buckingham  Palace,'  for  the  town-hall 
of  Manchester.  He  afterwards  painted  genre  sub- 
jects and  portraits  in  Turkey,  and  afterwards  in 
Monte  Video,  where  he  died  in  1880. 

TUTIANI,  Bartolommeo,  an  engraver  on  wood, 
to  whom  are  ascribed  some  prints  with  this  Gothic 

monogram,    ^,       Bartsch,    however,    mentions 


PAINTERS  AND  ENGRAVERS. 


only  one  wood-cut  with  this  mark:  it  represents 
'Christ  insulted  by  the  Jews,'  and  occurs  in  a  work 
printed  at  Augsburg  in  1515. 

TUTILO,  a  famous  miniaturist  of  the  10th 
century,  who  acquired  a  wide  reputation  as  painter, 
poet,  musician,  and  sculptor.  He  was  a  monk  of 
the  Benedictine  Order  at  Saint  Gall,  and  died  about 
908. 

TUTTINfi,  JoHANN  Baptist,  German  painter  ; 
bom  June  3,  1839,  at  Braunlingen,  Baden  ;  became 
a  student  at  the  Carlsruhe  Academy  ;  mainly 
painted  episodes  in  the  life  of  the  Black  Forest 
peasantry,  such  as  '  Vor  der  Walil,' '  Erst  Bezahlen  ' 
(in  the  Dresden  Academy),  and  '  Die  Goldene 
Hoclizeit'  (in  the  Carlsruhe  Kunsthalle).  He  died 
at  Carlsruhe,  August  24,  1889. 

TWKEDIE,  William  Menzies,  a  Scottish  por- 
trait painter,  born  at  Glasgow  in  1826.  The  son 
of  a  naval  officer,  he  was  himself  intended  for  the 
Navy,  hut  showed  an  early  bent  towards  art.  In 
1842  he  entered  the  Edinburgh  Academy,  where 
he  gained  a  prize,  and  in  1846  came  to  London  to 
study  in  the  Royal  Academy,  subsequently  com- 
pleting his  training  in  the  studio  of  Couture,  in 
Paris.  He  exhibited  chiefly  at  the  Royal  Academy, 
and  had  many  distinguished  sitters.  But  the  rejec- 
tion of  his  pictures  in  1874  and  afterwards  dis- 
heartened him.  His  health  gave  way,  and  he  died 
in  1878.  His  portrait  of  the  Duke  of  Devonshire 
hangs  in  the  University  of  London. 

TYBOUTS,  WiLLEM,  a  famous  Dutch  glass- 
painter,  horn  at  Haarlem  about  1526.  His  best 
known  works  are  portraits  of  Philip  II.  and 
Elizabeth  of  Valois,  painted  for  the  church  of  St. 
Ursula  at  Delft ;  '  The  Taking  of  Damietta,'  for  the 
church  of  St.  -lohn  at  Gouda  ;  and  the  glass  windows 
in  the  '  Schiitzenhaus '  at  Leyden.  He  is  further  said 
to  have  painted  portraits  of  the  Counts  of  Holland. 
He  died  in  1599.  Several  other  glass-painters  of 
the  same  family  are  mentioned  in  the  city  registers. 
TYMMERMAN,  Franz,  a  native  of  Hamburg, 
was  one  of  the  pupils  of  Lucas  Cranach,  under 
whom  he  was  working  from  1538  to  1540. 

TYN,  Lambert  den,  born  at  Antwerp,  in  1770, 
was  a  scholar  of  P.  Van  Regemorter.  He  painted 
interiors  by  candle-light,  landscapes  by  moon- 
light, and  genre  subjects  generally.  He  died  in 
1816. 

TYR,  Gabriel,  painter  and  lithographer,  was 
born  at  Saint-Paul-de-Mons,  in  1817.  He  was  a 
pupil  of  Victor  Orsel,  in  conjunction  witli  whom  he 
worked  for  twenty  years,  and  completed  his  paint- 
ings in  the  chapel  of  Notre-Dame-de-Lorette.  He 
himself  painted  chiefly  portraits  in  oil  and  pastel. 
He  was  commissioned  to  decorate  the  cathedral  at 
Le  Puy  with  mural  paintings,  but  his  death  pre- 
vented his  carrying  out  the  work.  He  made  the 
designs  for  some  good  windows  tn  the  church  of 
S.  Etienne,  in  which  town  lie  died  February  18, 
1868.  There  are  pictures  by  him  in  the  museums 
of  Le  Puy,  S.  Etienne,  and  Lyons. 

TYROFF,  Martin,  a  German  engraver  and 
publisher,  who  resided  at  Nuremberg  about  1750, 
and  engraved  a  considerable  number  of  portraits 
and  plates  for  books.  Among  the  former  is  that  of 
Charles  Ji  Linne,  architect  to  the  King  of  Sweden. 
TYRWHITT,  Richard  St.  John.  This  well- 
known  writer  on  art  was  born  in  1827.  He  was 
educated  at  Oxford,  entered  the  Church,  and  held 
a  vicarage  in  that  city.  Several  of  his  paintings 
in  water-colours  are  at  Christchurch,  in  the  com- 
mon room.     He  was  at  one  time  on  the  point  of 


being  given  the  Slade  Professorship  of  Fine  Arts, 
but,  learning  that  there  was  a  chance  of  Ruskin's 
being  appointed,  he  withdrew  in  favour  of  that 
eminent  man.  He  issued  a  well-known  '  Note- 
book of  Pictorial  Art,'  and  many  essays  upon  the 
writings  of  Ruskin.  He  had  a  good  deal  to  do 
with  the  decoration  of  St.  Paul's  Cathedral,  and  it 
was  very  much  due  to  his  advice  that  the  mosaic 
work  was  planned  for  the  east  end  and  ceiling  of 
the  choir.     He  died  in  1895. 

TYSON,  Michael,  a  fellow  of  Bennet  (Corpus 
Christi)  College,  Cambridge,  who  about  1770 
painted  for  his  amusement,  and  etched  some  plates, 
among  them  portraits  of  Archbishop  Parker,  Sir 
William  Paulet,  Thomas  Gray,  and  Jane  Shore. 
He  died  May  4,  1780.  (See  Anderdon's  '  Collec- 
tanea,' British  Museum,  vol.  99.) 

TYSSENS,  Augustine.     See  Thts. 

TYSSENS,  Nicolas,  was  born  at  Antwerp,  in 
1660,  learned  the  first  principles  of  design  in  his 
native  city,  and  is  said  to  have  visited  Italy,  and 
passed  some  time  at  Rome,  Naples,  and  Venice. 
He  was  a  painter  of  still-life.  His  pictures  repre- 
sented dead  game,  flowers,  fruit,  armour,  sabres, 
and  other  military  weapons.  He  is  said  to  have 
visited  Holland  and  England,  and  to  have  practised 
for  a  time  at  Diisseldorf.     He  died  in  1719. 

TYSSENS,  PiETER.    See  Tuts. 

TYTLER,  George,  held  the  appointment  of 
lithographic  draughtsman  to  the  Duke  of  Glouces- 
ter. About  1820  he  made  a  journey  in  Italy,  and 
on  his  return  published  some  lithographic  views 
of  Italian  scenery.  He  was  further  known  by  a 
large  panoramic  view  of  Edinburgh,  also  by  a 
pictorial  alphabet,  which  was  first  published  as  a 
lithograph,  and  afterwards  on  copper.  He  died  in 
London  in  great  poverty,  Oct.  30,  1859. 

TZANFURNARI,  Emanuel,  a  Byzantine  painter 
of  the  9th  century.  He  is  known  only  by  a  curious 
relic  of  early  Byzantine  art  in  the  'Museo  Cristiano  ' 
in  the  Vatican.  It  was  brought  into  Italy  by 
means  of  Squarcione,  and  is  a  picture  of  the  Death 
of  St.  Ephraim,  with  numerous  monks  and  suft'ering 
poor,  and,  in  the  background,  scenes  illustrating  the 
life  of  the  anchorite. 


u. 


UBALDINI,  Petruccio,  an  Italian  calligraphist 
and  illuminator  on  vellum,  who  was  working  in 
England  in  the  reign  of  Elizabeth,  and  seems  to 
have  enjoyed  the  favour  of  the  Court.  Vertue  says 
that  he  taught  the  Italian  language.  One  of  his 
illuminated  books,  presented  by  him  to  Elizabeth, 
is  in  the  Bodleian  Library,  and  Walpole  gives  a  list 
of  other  works,  formerly  in  the  King's  Library,  and 
now,  most  of  them,  in  the  British  Museum.  (See 
'Anecdotes  of  Painting,'  vol.  i.  p.  170.) 

UBEDA,  Fray  Tomas  de,  a  member  of  the  short- 
lived Academy  of  St.  Barbara  of  Valencia.  In 
1754  he  painted  a  picture  of  Judith,  which  was 
famous  for  a  time. 

UBELESQUI,  (or  Ubielesqui,)  Alexandre, 
painter,  called  Alexandre,  was  born  in  Paris  in 
1649.  He  was  a  pupil  of  Charles  Lebrun,  and 
completed  his  studies  in  Rome,  where  he  became 
a  member  of  the  Academy,  and  where  he  painted 
the  dome  of  a  chapel  in  Santa  Maria  Transpontina. 
On  his  return  to  France  he  was  patronized  by  the 


A  BIOGRAPHICAL   DICTIONARY  OF 


Court,  became  a  member  of  the  French  Academy 
in  1682,  and  Professor  in  1C95.  He  died  in  Paris, 
April  21,  1718. 

UBERTI,  P.  F.  DEGLi.     See  Farinati,  Paolo. 

UBERTINI,  Francesco  d'Albertino,  called  II 
Bacchiacca,  was  a  native  of  Florence,  and  pupil  of 
Perugino.  He  was  born  March  1, 1494.  His  father 
was  one  Ubertino  di  Bartolommeo,  a  goldsmith,  of 
the  Verdi  family.  Their  pedigree  is  given  by 
Milanesi  ('  Vasari,'  vol.  vi.  p.  454).  He  painted  his- 
torical subjects  with  success,  and  also  excelled  in 
grotteschi  and  ornamental  painting.  He  frequently 
painted  predellas  for  altar-pieces  by  other  masters, 
and  panels  for  the  decoration  of  furniture.  His 
works  are  generally  on  a  small  scale,  with  numerous 
figures.  The  latter  part  of  his  life  was  passed  in 
the  service  of  the  Grand  Duke  Cosimo,  for  whom 
he  designed  some  tapestries,  painted  some  historical 
pictures,  and  was  employed  on  decorative  works 
generally.  At  a  late  period  in  his  life  he  painted, 
in  fresco,  the  grotto  of  a  fountain  in  the  garden  of 
the  Palazzo  Pitti.  Several  of  his  rare  easel  pictures 
have  passed  into  England  and  France.  He  died  at 
Florence,  October  6,  1557.     Works : 

Berlin.  Museum.    Baptism  of  Christ. 

Florence.  Uffizi.     History  of  S.  Acasius  (predella 

in  three  compartments). 
„  S.Lorenzo.     History  of  the  Martyrs  (predella 

to    an  altar-piece    by   Giov. 
Antonio  Sogliani). 
„     S.  Maria  d.  Faz:i.     Deposition  from  the  Cross  (?). 
Loudon.      Nat.  Gallery.    Two  Scenes  from  the  History 
of  Joseph. 

His  brother  Baccio  Ubertini,  born  1484,  was 
also  a  pupil  of  Perugino,  and  a  successful  designer 
and  painter.  There  is  a  '  Crucifixion '  by  him  in 
the  UfBzi.  His  other  brother,  Antonio,  born  1499, 
followed  the  art  of  embroidery,  and  executed  many 
of  the  tapestries  which  Francesco  had  designed. 
He  died  in  1572. 

UCCELLI.    See  Dong,  Paolo  di. 

UCEDA,  DE.  Several  painters  of  this  family 
flourished  in  Seville  in  the  16th  and  17th  centuries. 
Joan  the  elder,  about  1594 ;  Juan  the  younger, 
about  1660;  Pedro  died  in  1714,  and  Juan  Uceda 
Castroverdo,  about  1623. 

UCHTERVELT.     See  Ochtervelt. 

UDEN,  Jakob  van,  was  believed  to  have  been  the 
brother  and  scholar  of  Lucas  van  Uden,  and  to 
have  painted  landscapes  in  his  style ;  but  his 
existence  is  doubtful. 

UDEN,  Lucas  van,  the  son  of  Artus  van  Uden, 
a  landscape  painter  of  little  repute,  was  born  at  Ant- 
werp, October  18,  1595,  and  was  first  taught  by  his 
father.  He  had  not  the  advantage  of  any  efficient 
master,  but  was  indefatigable  in  his  studies  from 
nature,  and  passed  his  leisure  hours  in  the  fields 
and  forests,  drawing  everything  which  appeared  to 
him  picturesque  or  remarkable,  and  giving  par- 
ticular attention  to  the  peculiar  appearance  of  the 
sky  at  sunrise  and  sunset.  He  was  influenced  by 
Paul  Bril,  and  by  a  study  of  the  landscapes  of 
Rubens.  In  1626  or  1627  he  entered  the  Guild, 
and  in  1647  travelled  abroad.  Van  Uden  was  a 
painter  of  no  originality,  and  it  is  mainly  to  his  con- 
nection with  abler  men  than  himself  that  he  owes 
such  fame  as  he  has.  Rubens  assisted  him  with 
his  advice,  and  frequently  employed  him  to  paint 
landscape  backgrounds  to  his  pictures ;  himself 
occasionally  painting  figures  in  the  landscapes  of 
Van  Uden.  The  death  of  this  artist  occurred  in 
1672  or  1673.     Some  of  his  latter  works  have  figures 

220 


by  David  Teniers,  Regemorter,  and  others.  Van 
Dyck's  portrait  of  Van  Uden  was  engraved  by 
Lucas  Vosterman  the  Elder.  Pictures  by  him  are 
to  be  seen  in  the  galleries  of  Antwerp,  Berlin, 
Brunswick,  Dresden,  Frankfort,  Madrid,  Munich, 
Paris,  Petersburg,  and  Schleissbeira.  The  Marquis 
of  Bute  has  a  very  important  landscape  by  Van 
Uden,  in  which  the  figures  are  by  Teniers.  It  is 
signed  L.  V.  V.,  and  may  be  taken  as  an  example 
of  the  master  at  his  best.  We  have  sixty-two  etch- 
ings of  landscapes  by  this  artist,  of  which  fifty-eight 
are  from  his  own  designs.  Among  them  the  fol- 
lowing : 

Ten  Landscapes  and  Views  in  Flanders,  of  various  sizes ; 
from  his  own  designs. 

Four  Landscapes ;  after  Rubens.  The  first  impressions 
are  before  the  name  of  Eubens  was  inserted. 

UDINE,  Giovanni  da.    See  Nanni. 

UDINE,  Giov.  di  Mart.  da.    See  Martini. 

UDINE,  GiROLAMO  da,  a  painter  of  the  Venetian 
school,  and  a  disciple  of  Pellegrino  da  San  Daniele. 
He  is  known  only  by  a  small  picture  of '  The  Coro- 
nation of  the  Virgin,'  painted  for  San  Francesco  at 
Udine. 

UDINE,  Mart,  di  Batt.  da.  See  Martino 
di  Battista. 

UFFENBACH,  Johann  Friedrich  von,  a  de- 
signer, etcher,  and  art  connoisseur,  was  born  at 
Frankfort  a  M.  in  1687.  He  published,  in  1726, 
a  work  entitled  '  Die  Nachfolge  Christi,'  with  numer- 
ous vignettes  of  his  own  etching.  He  died  in  1769, 
leaving  part  of  his  collection  of  works  of  art  to  the 
University  of  Gottingen. 

UFFENBACH,  Philipp,  painter  and  etcher,  was 
born  at  Frankfort  a  M.  in  1570.  He  was  instructed 
by  Hans  Grimmer,  and  was  himself  the  teacher  of 
Adam  Elsheimer.  He  painted  in  the  '  Romer  '  and 
other  buildings  in  Frankfort,  and  has  left  an  'As- 
cension of  Christ,'  and  '  Adoration  of  the  Kings,' 
with  thirteen  etchings  of  Scripture  subjects  and 
battles.  He  was  also  a  clever  mechanical  artist 
and  land-surveyor.     He  died  in  1630. 

UGGIONE.     See  Ogionno. 

UGOLINO  DA  SIENA,  painter,  flourished  at 
Siena  in  the  first  half  of  the  14th  century.  He 
belonged  to  a  family  of  painters,  the  genealogy 
of  which  is  given  by  Milanesi  ('Vasari,'  vol.  i. 
p.  457).  Vasari  supposes  him  to  have  been  a  pupil 
of  Cimabue  ;  others  assert  him  to  have  studied  under 
Guido  of  Siena,  and  the  evidence  on  this  point  is 
obscure.  His  design  was  that  of  the  Greek 
painters,  and  he  was  at  least  an  imitator  of  Cim- 
abue. He  painted  a  large  number  of  works  for 
churches,  and  in  all  parts  of  Italy,  and  died  in 
1339,  at  a  very  advanced  age.  Two  panels  of  an 
altar-piece  painted  by  him  forS.  Croce,  in  Florence, 
are  now  in  tlie  National  Gallery.  They  represent 
'The  Betrayal  of  Christ,'  and  the  'Procession  to 
Calvary,'  and  are  of  much  interest  to  the  historian 
of  art. 

UGOLINO  DI  NERI  was  painting  in  Siena  in 
1317,  and  may  be  identical  with  Ugolino  da  Siena. 
(See  Milanesi,  '  Vasari,'  vol.  i.  pp.  453  et  seq.  notes.) 

UGOLINO  DI  PIETRO  was  painting  in  Siena 
in  1324.  Nothing  further  is  known  concerning 
him.  He  may  be  identical  with  Uqolino  da  Siena 
(q.  v.). 

UGOLINO  DI  Prete  ILARIO,  a  painter  of  Siena, 
who  executed  frescoes  in  the  chapel  of  S.  Corporale 
in  the  cathedral  at  Orvieto,  which  bear  the  inscrip- 
tion, Ugolinus  pictor  di  Urbe  Veteris,  and  the 
date  136^.     In  1378  he  was  employed  with  other 


PAINTERS  AND  ENGRAVERS. 


artists  on  the  decoration  of  the  walls  of  the  tribune 
and  choir  behind  the  high  altar  of  the  same  church. 

UGRUMOFF,  Gregor  Iwanowitsch,  painter, 
was  born  in  Russia  about  1764.  He  was  a  pupil  of 
Lossenko,  and  became  professor  and  rector  of  the 
Petersburg  Academy.  The  Hermitage  contains 
two  of  his  best  pictures,  '  The  Conquest  of  Kasan,' 
and  '  The  Ascension  of  the  Romanoff  Family  to  the 
Throne.'     He  died  in  1825. 

UHLIGK,  ,  was  an  obscure  German  en- 
graver, who  resided  at  Leipsic.  His  name  is 
affixed  to  a  portrait  of  Johann  Melchior  Jacob, 
dated  1719.  According  to  Zani,  he  was  at  work  as 
late  as  1740. 

UIJTENBOGAART,IzAAK,  was  born  at  Amster- 
dam in  1767,  and  was  a  pupil  of  J.  Andriessen. 
He  painted  landscapes  with  cattle,  also  fruit-pieces 
and  dead  game.  He  also  worked  in  black  chalk 
and  Indian  ink,  and  was  for  a  time  director  of  a 
tapestry  factory  at  Hoorn.  In  1810  he  was 
crowned  by  the  Society  Felix  Mentis.  He  died  at 
Amsterdam  in  1831.  His  son  Abraham  was  a 
painter  and  architect. 

UIJTENBHOUGK,  Moyses  van,  (called  Little 
Moses,)  was  born  at  the  Hague  about  1590.  He 
painted  numerous  small  landscapes,  which  he 
usually  embellished  with  subjects  taken  from  church 
history,  orfrom  fables.  In  1620  he  was  made  free 
of  the  Guild  of  St.  Luke  at  the  Hague,  and  was 
dean  in  1627.  His  name  has  been  spelt  in  a  great 
variety  of  ways  (Utenbroeck,  Uytenbroeck,  Vijt 
den  Broeck,  Veit  van  den  Broeck,  Van  Brouck, 
Wtenbrouck).  He  died  at  the  Hague  in  1648. 
Pictures  by  him  may  be  seen  at  Augsburg, 
Brunswick  ('The  Festival  of  Bacchus,'  1627), 
Copenhagen,  Florence,  and  Vienna.  Bartsoh  and 
Weigel  give  a  list  of  sixty-seven  plates  by 
Uijtenbrouck.  Two  other  painters  of  the  same 
name,  Jan  and  Matthaus  Uijtenbrouck,  flour- 
ished at  the  Hague  about  the  middle  of  the  17th 
century. 

UIL,  J.  DEN.    See  Den  Uyl. 

UITENWAEL,  (or  Utenwael,)  Paulus  van, 
an  obscure  engraver,  who  may  have  been  connected 
with  Joachim  Uitewaal.  He  engraved  portraits, 
mythological  scenes,  and  plans  of  towns. 

ULEFELD,  Eleonore  Christine,  Countess  of, 
was  born  at  Friedriksborg  in  1621.  She  was  the 
daughter  of  King  Christian  IV.  of  Denmark,  and 
wife  of  the  minister  Ulefeld.  She  was  a  pupil  of 
Karel  van  Mander,  and  was  clever  in  miniature 
painting  as  well  as  in  modelling  in  clay  and  em- 
broidering. She  died  at  Jilariboe,  in  Laland,  in  1698. 
Her  daughter,  Helena  Christiana,  was  also  an 

DLENBURGH,  (or  Ulenburg,)  Gerhard,  a 
Dutch  painter  of  the  17th  century,  was  a  native  of 
Amsterdam.  His  father  Hendrik,  an  art-dealer, 
was  cousin  to  Saskia,  Rembrandt's  first  wife,  and 
placed  his  son  in  the  great  painter's  atelier. 
After  Hendrik's  death,  Gerhard  carried  on  his 
father's  business,  and  gathered  together  a  fine 
collection  of  pictures.  In  1675  he  was  impover- 
ished by  losses  in  trade,  and  his  collection  was 
sold.  He  is  said  to  have  then  tried  his  fortune  in 
England,  where  he  was  emi-iloyed  by  Sir  Peter 
Lely  to  paint-in  draperies  and  backgrounds.  He 
is  supposed  to  have  died  in  this  country  about  1690. 

ULERICK.     See  Vlerick. 

ULIN,  Pierre  d',  a  French  painter,  bom  in  1669. 
He  gained  the  first  prize  of  the  Academy  in  1696, 
with   a   picture  of  '  Pharaoh  giving   his   ring  to 


Joseph,'  and  afterwards  became  painter  in  ordinary 
to  the  king.     He  died  in  1748. 

ULIVELLI,  CosiMO,  was  born  at  Florence  about 
1625.  He  was  a  disciple  and  imitator  of  Baldassare 
Franceschini.  His  works  are  to  be  seen  at  Florence, 
in  the  Carmine,  in  the  Uffizi,  in  S.  Spirito,  and  SS. 
Nunziata.     He  died  in  1704. 

ULLMANN,  Walter,  an  English  painter,  was 
born  in  1861.  In  1882  his  'Jour  d'Automne,'  a 
landscape  with  figures,  attracted  attention  at  the 
Salon.     He  died  in  the  June  of  the  same  year. 

ULMANN,  Benjamin,  painter,  born  at  Blotzheim 
(Haut  Rhin)  in  1829,  was  a  pupil  of  Drolling  and 
of  Picot,  and  entered  the  ficole  des  Beaux  Arts  in 
1849.  He  gained  the  "  prix  de  Rome"  in  1859, 
and  profited  much  by  his  studies  in  Italy.  He  ex- 
hibited a  number  of  works  at  the  Salon  from  1855 
onwards,  chiefly  portraits  and  historical  subjects, 
and  was  commissioned  to  paint  some  pictures  for 
the  Palais  Royal  and  for  the  Palais  de  Justice. 
His  '  Sylla  and  Marius '  is  in  the  Luxembourg,  and 
other  works  by  him  are  in  the  Museums  of  Mans, 
Marseilles,  Melun,  and  Colmar.     lie  died  in  1884. 

ULMER,  Johann  Konrad,  an  engraver,  was  born 
atBeroldsheim,  nearAnsbach,inl783.  He  studied 
first  under  Naumann,  then  at  the  Augsburg  Academy, 
and  next  under  J.  G.  Miiller  at  Stuttgart.  In  1806 
he  went  to  Paris,  where  he  worked  twelve  years  for 
the  Mus6e  Napoleon.  In  1818  he  returned  to  Ger- 
many, and  became  professor  of  engraving  in  the 
Stiidel  Institute,  Frankfort.  He  committed  suicide 
in  1820.     Among  his  best  plates  are  : 

The  Madonna  della  Sedia ;  after  Saphad. 

Madonna  di  San  Sisto ;  after  the  same  {completed  by 
Piotti). 

St.  Cecilia ;  after  Slignard. 

The  Burgomaster  ;  after  Van  der  Heist. 

Triumph  of  Religion  ;  after  Lesueur. 

The  Duke  of  Buckingham ;  after  Van  Dyck. 

Carlo  Dolci ;  after  that  painter, 

ULRICH,  called  '  S.  Ulrich,'  a  miniature  painter 
who  flourished  from  about  923  to  about  973.  He 
transcribed  and  illuminated  an  '  Evangelistarium,' 
now  in  the  Munich  Court  Library,  and  another,  now 
in  the  British  Museum. 

ULRICH,  Hans  Jakob,  painter,  born  at  Zurich 
in  1798,  was  brought  up  by  his  parents  to_  be  a 
merchant,  but  gave  up  business  and  devoted  himself 
to  painting.  He  travelled  in  France,  Italy,  England, 
and  the  Netherlands  for  improvement,  and  became 
a  successful  painter  of  landscapes,  sea-pieces,  birds, 
and  animals.  He  was  at  one  time  Professor  at  the 
Zurich  Polytechnic.  He  was  an  exhibitor  at  the 
Salon  between  1824  and  1840.  Many  of  his  land- 
scapes were  English  in  origin,  and  he  was  one  of 
the  first  of  his  country  to  profit  by  the  finer  styles 
of  the  north  in  that  branch  of  art.  Examples  of  his 
work  exist  in  the  museums  of  Orleans  and  Nantes. 
C.  Huber  etched  a  series  of  sixty  plates  from  his 


ULRICH,  Heinrich,  a  German  painter  and  en- 
graver, was  born  at  Nuremberg  about  1572,  and 
worked  in  that  city  and  Vienna.  Two  plates  by 
him,  '  Christ  on  the  Cross,'  and  '  The  Body  of  Christ 
in  the  lap  of  His  Father  Joseph,'  have  merit.  In 
all  he  has  left  150  plates,  portraits,  historical  sub- 
jects, and  genre.     He  died  about  1631. 

ULRICH,  JoH.     See  Wechtlin. 

UMBACH,  Jonas,  painter,  designer,  and  en- 
graver, was  born  at  Augsburg  about  1624.  He  was 
cabinet  painter  to  the  Bishop  of  Augsburg,  and 
produced  many  landscapes  with  cattle,  also  kitchen 
pieces,  feathered  game,  and  a  few  historical  subjects 


A   BIOGRAPHICAL   DICTIONARY  OF 


in  chiaro-scuro.  He  also  etched  230  plates  of 
biblical,  historical,  and  mythological  scenes  and 
landscapes.     Among  tliese  there  are : 

Christ  on  the  Mount  of  Olives. 

Trains  of  Children  and  Nereids. 

Two  Duck-shooters  lying  in  Wait. 

Landscapes  with  Kuins. 

Bacchanals  and  Infant  Sports. 
He  died  in  1G80,  or  1700.     There  was  a  younger 
Jonas  Umbacu,  but  there  are  no   particulars  re- 
specting him,  except  that  he  drew  portraits. 

UNDELOT,  Jacques,  a  miniaturist  of  the  15th 
century,  who  illuminated  a  missal  for  Charles  the 
Bold  (while  Corate  de  Charolais)  in  the  year  1465. 
It  is  now  in  the  Copenliagen  Library. 

UNDERWOOD,  Eichaud  Thomas,  an  English 
water-colour  painter.  He  studied  at  Dr.  Monro's, 
and  practised  in  London,  following  art  more  as  a 
pastime  than  as  a  profession.  Some  of  his  draw- 
ings appeared  at  Cooke's  Exliibition  in  Soho  Square. 
He  died  at  Auteuil,  near  Paris,  in  1836. 

UNDERWOOD,  Tuomas,  born  in  1809,  was 
originally  an  engraver,  but  finally  devoted  himself 
to  writing  on  artistic  and  antiquarian  subjects.  He 
published  a  work  on  '  The  Buildings  of  Birming- 
ham, past  and  present.'  He  was  also  much  em- 
ployed as  an  adviser  bj'  collectors  of  works  of  art. 
He  died  in  London  in  1882. 

UNGER,  Eduard,  was  bom  at  Hofheim,  in 
Bavaria,  in  1853,  and  studied  in  Munich  under 
Strahuber  and  Seitz.  He  is  best  known  as  an 
illustrator  of  children's  books,  the  humour  and 
quaint  charm  and  fancy  of  his  representations  of 
the  denizens  of  the  realm  of  faery  being  remark- 
able. As  a  mural  decorator  his  work  may  be  seen 
in  various  buildings  in  Munich.  His  best  paintings 
are  his  '  Christbaum  '  and  '  Antike  Briefkasten.' 
He  died  at  Oberaudorf  in  1894.  J.H.  W.L. 

UNGER,  Johann  Friedrich,  wood-engraver, 
was  a  son  and  pupil  of  Johann  Georg  Unger.  He 
was  born  at  Berlin  about  1740  or  1750.  He  was 
a  member  of  the  Berlin  Academy,  and  Professor  of 
wood-engraving.  A  set  of  improved  German 
printed  characters  was  designed  by  him.  His 
principal  wood-cuts  were  after  drawings  by  J.  W. 
Meil.     He  died  in  1804. 

UNGER,  Johann  Georg,  a  wood-engraver,  was 
born  atGoos,  near  Pirna,  in  1715.  He  was  originally 
a  printer,  but  in  1757  devoted  himself  entirely  to 
the  art  of  wood-engraving.  He  worked  for  the 
Berlin  Tobacco  Administration,  and  also  produced 
some  good  landscapes  for  his  time.  He  invented 
several  improvements  in  the  technio  of  wood-en- 
graving, and  had  much  influence  on  the  revival  of 
the  art.     He  died  in  1788. 

UNGEK,  Johanna,  was  born  in  Hanover  in 
1836-8,  and  studied  from  1855  onwards  under  Karl 
Sohn  and  Otto  Rethel  at  Diisseldorf,  then  under 
Leutze,  and  last  at  Munich  under  Piloty.  She  died 
at  Pisa,  February  11,  1871.  She  was  clever  at 
illustrative  arabesques,  and  besides  some  portraits 
and  aquarelles,  left  the  following  oil  paintings  : 

The  Sleeping  Beauty.     1863.  I    Joan  of  Arc. 

The  Marys  at  the  Sepulchre.     1864.      \    Deborah. 
Jephthah's  Daughter. 

UNGER,  Joseph,  the  younger,  the  son  of  an 
architect,  was  a  painter  and  lithographer,  and  was 
born  at  Munich  in  1811.  He  studied  in  the  Aca- 
demy there,  and  after  devoting  himself  for  a  short 
time  to  painting,  transferred  his  attention  wholly 
to  lithography.  He  died  in  1843.  Among  his 
best  lithographs  are : 

222 


The  Nativity  ;  after  SchrauMph. 

The  Death  of  the  Virgin  ;  after  the  same. 

UNKER.    See  D'Unker,  Henning-Ldtzow. 

UNTERBERGER,  Christoph,  was  bom  at  Cava- 
lese,  in  Tyrol,  in  1732.  He  was  taught  drawing 
by  an  uncle,  and  afterwards  went  to  Vienna, 
Venice,  Verona,  where  he  studied  under  Cignaroli, 
and,  in  1758,  to  Rome.  Here  he  made  the  ac- 
quaintance of  Rafael  Mengs,  and  copied  the  works 
of  Pietro  da  Cortona,  in  whose  style  he  produced 
two  altar-pieces  for  the  cathedral  of  lirixen.  On 
the  recommendation  of  Mengs  he  was  commis- 
sioned to  decorate  the  Vatican  Library  with  gi-ot- 
teschi  and  other  painted  ornament,  and  to  work  in 
tbe  Villa  Borghese.  He  died  at  Rome  in  or  about 
1798.  His  works  were  mostly  historical,  but  he  also 
executed  genre  subjects,  landscapes,  and  fruit  and 
flower-pieces.  He  copied  the  Loggia  of  Raphael 
for  the  Emperor  of  Russia.  Some  genre  paintings 
by  him  are  in  the  Liechtenstein  Gallery  at  Vienna. 

UNTERBERGER,  Ignaz,  painter  and  engraver, 
a  j-ounger  brother  of  Christoph  Unterberger,  was 
born  at  Cavalese  about  1743-8,  and  was  also  a 
pupil  of  his  uncle,  Franz.  He  likewise  went  to 
Rome  and  came  under  the  influence  of  Mengs,  but 
his  model  among  the  old  masters  was  Correggio. 
He  painted  grotesque  subjects  and  bamhocciati. 
After  settling  in  Vienna  in  1776,  he  attracted  atten- 
tion by  his  arabesques  and  imitations  of  cameos. 
He  became  a  member  of  the  Vienna  Academy,  and 
died  in  the  Austrian  capital  in  1797.  Works  : 
Ktiniggriitz.  Cathedral.  Descent  of  the  Holy  Ghost. 
Prague.  Gallery.     Bathsheba. 

Vienna.  Italian  Ch.     Madonna. 

Unterberger  scraped  some  mezzotints ;  among 
them  the  best  were  : 

Hebe  gi\-ing  drink  to  the  Eagle  of  Jove;  after  M.  A. 
Unterberger. 

Venus  surrounded  by  Loves. 

UNTERBERGER,  Michel  Angelo,  was  born  at 
Cavalese  in  1695,  and  studied  first  in  that  place 
under  Giuseppe  Alberti,  and  afterwards  at  Venice 
under  Piazzetta.  His  most  important  work  was 
done  in  the  convent  at  Passau  and  in  Vienna.  In 
1761  he  became  joint  director  of  the  Vienna  Aca- 
demy. He  died  in  1758.  Among  his  best  works 
are  : 

The  Dismissal  of  Hagar. 

The  Archangel  Michael. 

The  Death  of  the  Virgin  (Brixen). 

SS.  Joseph  .-rnd  Theresa  ( Wiltau). 

Hebe  giving  drink  to  the  Eagle. 

UNWIN.  R.,  enamel  painter,  was  much  employed 
at  the  beginning  of  the  19th  century  in  enamelling 
watches  and  jewellery.  He  also  painted  portraits 
and  landscapes  in  miniature,  and  exhibited  at  the 
Royal  Academy  from  1785  to  1812. 

tjNZELMANN,  Friedrich  Ludwig,  wood-en- 
graver, was  born  at  Berlin  in  1797.  Ho  studied 
under  Gubitz  at  the  Berlin  Academy,  of  which  he 
became  a  member  in  1843,  and  in  1845  a  professor. 
His  cuts  consisted  chiefly  of  architecture,  landscapes, 
portraits,  and  genre  subjects.  He  engraved  Men- 
zel's  illustrations  to  the  works  of  Frederick  the 
Great.     He  died  at  Vienna  in  1854. 

UPHAM,  John  William,  landscape  painter  in 
water-colour,  was  born  at  Offwell,  near  Honiton,in 
1772.  He  drew  views  of  various  parts  of  Devon- 
shire, his  favourite  subjects  being  taken  from  the 
neighbourhood  of  Sidmouth,  Sldbury,  Torquay, 
and  Exeter.     He  also  worked  in  North  Wales  and 


PAINTEKS  AND    ENGRAVERS. 


Switzerland.  From  1800  to  1811  he  exhibited 
landscapes  annually  at  the  Royal  Academy.  He 
resided  at  Weymouth,  and  published  many  en- 
gravings of  the  surrounding  district.  Upham  died 
on  January  5,  1828,  and  was  buried  at  Wyke 
Regis.  JI.  H. 

URBANO  DA  VENEZIA,  an  obscure  artist  who 
is  said  by  Venetian  writers  of  the  18th  century  to 
have  assisted  Francesco  Tacconi  in  painting  the 
organ  shutters  of  St.  Mark's,  Venice. 

URBANO,  PiETRO,  a  native  of  Pistoia,  was  a 
scholar  of  Michelangelo,  and  is  mentioned  by 
Vasari  as  one  of  those  who  lived  in  Buonarroti's 
house. 

URBINA,  Diego  de,  was  born  at  Madrid  about 
the  middle  of  the  16th  century,  and  was  employed 
in  1670,  in  conjunction  with  A.  Sanchez  Coello,  on 
the  paintings  for  the  triumphal  arches  for  the 
entry  of  Anna  of  Austria,  fourth  bride  of  Philip  II. 
of  Spain,  to  whom  Diego  was  appointed  painter. 
In  1672  he  painted  for  the  royal  monastery  of 
Santa  Cruz,  six  pictures  from  the  histories  of  the 
Virgin  and  our  Lord,  and  a  '  Finding  of  the  Cross 
by  the  Empress  Helena.'  With  Gregorio  Martinez, 
in  1624,  he  painted  and  gilded  a  retable  for  the  high 
altar  of  Burgos  cathedral.  The  work  was  finished 
in  1594. 

URBINA,  Juan  de,  is  said  to  have  painted  at 
the  Escorial  in  the  reign  of  Philip  II.  His  name 
lives  in  the  verse  of  Lope  de  Vega,  who  calls  him 
'  Generoso  Urbina,'  and  laments  his  death  as  his 
royal  patron's  loss. 

URBINO,  Bramante  da.    See  Lazzaei. 

URBINO,  Carlo,  a  painter  of  Crema,  in  the  16th 
century,  who  painted  some  pictures  in  the  town- 
hall  of  that  place,  and  in  some  of  the  churches 
of  Milan.  The  Brera  has  a  '  Baptism  of  Christ'  by 
him. 

URBINO,  Giovanni  and  Francesco  da,  two 
Italian  painters,  who,  in  1575,  were  engaged  to 
decorate  the  Escorial.  Francesco  was  the  abler  of 
the  two,  and  obtained  considerable  reputation  in 
Spain. 

URBINO,  Luca  da,  is  mentioned  by  Strutt  as 
the  engraver  of  a  set  of  prints  for  a  drawing-book, 
from  designs  by  Michelangelo,  the  Carracci,  and 
other  masters. 

URBINO,  Raphael  Sanzio  da.     See  Sanzio. 

URBINO,  Terenzio  da.    See  Terenzi. 

URBINO,  Timoteo  da.    See  Della  Vite. 

URLAUB,  Georg  Karl,  was  born  at  Ansbach 
in  1749,  and  died  at  Marburg  in  1809.  He  painted 
battle  scenes,  mythological  and  genre  subjects, 
and  portraits  in  oil  and  pastel.  There  was  also  a 
Georq  Christian  Urladb,  who  was  an  historical 
painter  of  Thungersheim  in  the  18th  century,  and 
worked  at  Bamberg,  Wiirzburg,  &c. 

UROOM.     See  Vroom. 

URSINO.     See  Giolfino,  Niccol6. 

URZANQUI,  — ,  was  an  artist  of  Saragossa, 
who  enjoyed  a  considerable  reputation  in  his  native 
city  about  the  middle  of  the  17th  century. 

USSI,  Stefano,  Italian  painter ;  born  September 
3,  1822,  at  Florence  ;  became  a  pupil  at  the 
Florence  Academy,  and  studied  with  Pollastrini  ; 
gained  several  prizes  ;  worked  at  Rome,  and 
afterwards  visited  Egypt ;  became  a  member  and 
professor  of  the  Florence  Academy  ;  obtained 
Paris  medal  in  1867,  and  a  Vienna  medal  in  1873. 
His  '  Expulsion  of  the  Duke  of  Athens '  is  in  the 
Florence  National  Gallery.  He  died  at  Florence, 
July  11,  1901, 


USTERI,  JoHANN  Martin,  draughtsman,  was 
born  at  Zurich  in  1763.  His  father  was  a  connois- 
seur of  art,  and  he  was  instructed  partly  at  home, 
and  later  on  by  the  sculptor  Sonnenschein.  In 
1783  he  travelled  in  Germany,  the  Netherlands,  and 
France.  His  drawings,  which  embrace  every  variety 
of  subject,  are  drawn  with  the  pen  and  then  washed 
with  Indian  ink,  or  coloured  like  miniatures.  Some 
of  them  are  moral  subjects  in  series,  in  the  manner 
of  Hogarth.     He  died  at  Rapperswyl  in  1827. 

UTENBROECK.     See  UuTENBRoncK. 

UTENWAEL.     See  Uitewaal. 

UTKIN,  NicoLAi  Iwanowitsch,  (or  OnTKiN,) 
engraver  and  medallist,  was  born  at  Twer  in  1779. 
He  was  a  pupil  of  Klauber,  and  then  studied  in 
London,  and  under  Bervio  in  Paris.  He  afterwards 
became  director  of  the  school  of  engraving  at  St. 
Petersburg.  He  died  in  1863.  Among  his  plates 
are : 

-^neas  saving  Anchises ;  after  Domenichino. 

Portrait  of  tlie  Empress  Catherine  II. ;  after  Borowi- 

kowski/. 
Prince  Kurakin  ;  after  Regnault. 
Field-Marsinal  Suwarrow  ;  after  Schmidt. 
Dr.  Leigiiton. 
S.  Basil ;  after  Schebujeff, 

UTRECHT,  Adriaen  van,  born  at  Antwerp  in 
1599,  was  an  eminent  painter  of  domestic  fowls, 
dead  game,  and  objects  of  still-life.  In  1614  he 
entered  the  atelier  of  Harmen  de  Neyt,  and  became 
in  1625  free  of  the  Guild.  He  frequently  introduced 
fruit  and  flowers  into  the  pictures  of  other  artists. 
He  travelled  in  France,  Germany,  and  Italy,  and 
went  to  Spain,  where  he  was  much  employed  by 
Philip  IV.  It  was  there  that  he  painted  the  fruit 
in  tlie  large  picture  by  Rubens  of  '  Pythagoras  and 
his  Disciples,'  which  is  now  in  Buckingham  Palace. 
This  part  of  the  work  is  attributed  to  Snyders.  He 
died  at  Antwerp,  October  5,  1652.  Two  pictures 
by  him  are  in  the  Madrid  Gallery,  in  one  of  which 
the  figures  are  inserted  by  Jordaens.  Other  good 
works  by  him  are  at  Amsterdam,  Antwerp,  Bruns- 
wick, Brussels,  Cassel,  Cologne,  Copenhagen,  Dres- 
den, Ghent,  and  St.  Petersburg. 

UTRECHT,  Alex.  van.     See  Keirrinckx. 

UTRECHT,  CiiRisTorH  van,  a  native  of  Utrecht, 
which  he  left  when  quite  young,  to  become  a  pupil 
of  Antonio  Moro.  He  was  at  the  court  of  Portugal 
about  the  middle  of  the  16th  century,  and  held 
high  rank  at  the  courts  of  Charles  V.  and  Philip 
II.  of  Spain.  He  died  in  1557.  There  is  some  un- 
certainty concerning  the  works  of  this  artist,  but 
according  to  Nagler,  some  paintings  at  Evord, 
which  are  somewhat  in  the  style  of  Van  Eyok, 
may  be  attributed  to  him. 

UTRECHT,  Jakob  van,  (Jacobus  Trajedensis,) 
portrait  painter  of  the  early  part  of  the  16th  cen- 
tury, was  a  native  of  Utrecht,  and  is  probably 
identical  with  one  "Master  Jacob  v.  Utrecht,"  who 
is  registered  as  a  member  of  the  Antwerp  Guild  in 
1506.  In  the  Berlin  Gallery  there  is  a  portrait  of 
a  man  by  him,  dated  1523. 

UTRERA  Y  CADENAS,  Jos£,  was  born  at  Cadiz 
in  1829.  He  studied  at  the  Academy  there,  and 
showed  much  promise,  both  as  a  portrait  and  history 
painter,  when  his  career  was  cut  short  by  death, 
in  1848.  His  '  Guzman  the  Faithful '  is  now  in  the 
Roval  Palace  at  Madrid. 

UUTE  W^AEL,  Joachim,  was  born  at  Utrecht 
in  1566.  He  was  the  son  of  a  glass  painter,  who 
taught  him  the  rudiments  of  design,  and  he 
followed    his    father's    profession    until    he    was 

223 


A  BIOGRAPHICAL  DICTIONARY  OF 


eighteen  years  of  age,  when  he  became  a  scholar 
of  Joost  De  Beer,  under  whom  he  studied  three 
years,  after  which  he  travelled  to  Italy,  and  passed 
some]  time  at  Padua.  In  that  city  he  became 
known  to  the  Bishop  of  St.  Malo,  in  whose  employ- 
ment he  passed  four  years  in  Padua  and  two  years 
in  France.  He  then  returned  to  Utrecht,  where  in 
1592  he  was  admitted  into  the  Guild  of  Saddlers 
and  Painters.  In  1611  he  and  the  other  painters 
left  it  and  formed  themselves  into  a  separate 
college.  Was  a  good  portrait  painter.  Died 
August  13,  1638. 

Berlin.  Gallery.    Lot  and  his  D.iughters. 

Brunswick.       Museum.    Feast  of  the  Gocls.    1600.     (A 

subject  he  often  treated.) 
Copenhagen.      Gallen/.     Tlie  Preaching  of  John. 
Dresden.  Gallery.     Apollo  and  Minerva,     1590. 

Madrid.  Gallery.     Adoration  ot  the  Shepherds. 

Munich.  Gallery.     The   Marriage   of  Peleus   with 

Thetis. 
The  Hague.      Museum.    Mars  and  Venus  surprised  by 

Vulcau.     1600. 
Utrecht.     ^rcA  jj^^».  |  j^^joration  of  the  Shepherds. 

Vienna.  Gallery.    Adoration  of    the    Shepherds. 

1607. 

„  „  Diana  and  Actseon. 

W.  H.  J.  W. 

UWINS,  Thomas,  painter,  was  born  in  Penton- 
villa,  London,  February  24,  1782.  In  1797  he  was 
apprenticed  to  an  engraver,  but  having  a  great 
desire  to  be  a  painter,  he  left  his  master  at  tlie  age 
of  sixteen,  and  became  a  student  at  the  Royal 
Academy.  He  soon  began  to  make  a  modest  living 
by  designs  for  book-illustration,  chiefly  for  frontis- 
pieces and  vignettes.  He  was  elected  an  Associate 
of  the  Water-Colour  Society  in  1809,  and  full 
member  in  1810,  and  in  1813  became  Secretary  to 
the  Society,  a  post  which  he  only  held  for  a  short 
time)  for,  his  health  failing,  he  went  in  1814  to  the 
south  of  France.  In  1818,  in  consequence  of  a 
money  difficulty  brought  upon  him  by  a  friend  for 
whom  he  had  been  surety,  he  resigned  his  member- 
ship of  the  Water-Colour  Society,  and  worked  un- 
ceasingly till  he  had  freed  himself  from  his  embar- 
rassments, drawing  portraits  in  chalk  and  making 
many  designs  for  booksellers.  In  1824  he  was  able 
to  make  a  long-desired  journey  to  Italy,  where  he 
remained  till  1831,  studying  and  collecting  material 
for  future  work.  Returning  to  England,  he  set 
about  a  new  departure  in  his  art,  determining 
thenceforth  to  abandon  water-colour  for  oil,  and  at 
the  age  of  fifty  he  began  his  practice  in  the  new 
medium,  with  marked  success.  His  exhibited 
works  from  this  time  onward  were  chiefly  Italian 
subject  pictures,  and  had  great  popularity  in  their 
day.  He  became  an  Associate  of  the  Royal  Academy 
in  1833,  and  a  full  member  in  1838.  He  was 
appointed  librarian  of  the  Royal  Academy  in  1844; 
Surveyor  of  the  Queen's  Pictures  in  1845  ;  and 
Keeper  of  the  National  Gallery  in  1847.  His  health 
again  gave  way,  and  in  1855  he  resigned  his  ap- 
pointments and  retired  to  Staines,  where  he  died, 
August  25, 1857.     Among  his  works  we  may  name  : 

The  Little  Housewife  (loater-colour).     1810. 

Children  returning  from  School  (do.).     1811. 

Higgler's  Boy  going  to  Market  (Jo.).     1812. 

Girl  decorating  her  Head  with  Hops  (do.).     1813. 

Hay  Harvest  {do.).     (South  Kensington.) 

Coronation  ot  George  IV.  (do.).     (Bo.) 

A  series  of  six  drawings  for  illustration  (do.).     (Do.) 

Italian  teaching  her  Child  the  Tarantella  (do.).     (Do.) 

The  Saint  Manufactory. 

Le  Chapeau  do  Brigand.     (.Sheffield  Gallery) 

Vintage  in  the  Claret  Vineyards.    (Dundee  Gallery.) 

224 


Sir  Guyon,   Verdant,    and    Acrasia    (from    Spenaer;. 
(Nottingham  Gallery.) 

UYL.     See  Den  Uijl. 
UYTENBROECK.     See  Uijtenbroeck. 
UYTENWAEL.    See  Uitewaal. 


V. 


VAART.    See  Van  dee  Vaabt. 

VACA,  DE.     See  Cabeza. 

VACAS.     See  Belmo.n'te. 

VACCARO,  Andrea,  painter,  was  born  at  Naples 
in  1598.  He  was  a  scholar  of  Girolamo  Imparato, 
and  a  rival  of  Massimo  Stanzioni.  He  for  some 
time  attached  himself  to  an  imitation  of  the 
style  of  Caravaggio,  and  some  of  his  early  pro- 
ductions were  mistaken  for  the  works  of  that 
painter.  He  aftersvards  adopted  principles  more 
like  those  of  Guido.  After  the  death  of  Stanzioni, 
Vaccaro  was  considered  the  ablest  artist  of  the 
Neapolitan  school,  and  reigned  without  a  rival  un- 
til the  coming  of  Luca  Giordano  from  Rome,  and 
even  him  he  defeated  in  a  competitive  design  for  a 
'  Madonna  '  for  Santa  Maria  del  Pianto.  He  at  last 
took  to  fresco  painting,  in  which  he  was  less  suc- 
cessful. He  was  pecuHarly  happy  in  single  figures 
of  saints.  Many  of  these  are  in  the  Naples  Gallery. 
He  died  at  Naples  in  1670.  He  used  a  monogram 
similar  to  that  of  Andrea  del  Sarto,  which  at  one  time 
caused  a  few  of  his  easel  pictures  to  be  attributed 
to  that  artist.    Among  his  best  works  are  : 

Dresden.  Gallery.     Christ  appearing  to  Mary  sifter 

the  Resurrection. 
Madrid.  „  The  Kesurrection. 

„  „  Isaac  and  Kebekah. 

„  „  Death  of  St.  Januarius. 

A  ml  seven  others. 
Munich.  „  The  Si-'ourgiug  of  Christ. 

„  „  The  Child  Jesus  Sleeping. 

Petersburg.     Hermitage.     The  Repentant  Magdalene. 
Vienna.  Gsell  Coll.    Susannah  in  the  Bath. 

VACCARO,  DoMENico  Antonio,  who  practised 
painting  to  some  very  small  extent,  was  chiefly  an 
architect  and  sculptor.  He  was  born  at  Naples  in 
1680,  and  painted  some  ceilings  in  the  church  of 
Monte  Vergine. 

VACCARO,  Francesco,  (or  Vicaro,)  an  Italian 
painter  and  engraver,  was  born  at  Bologna  about 
1636.  He  was  a  scholar  of  Francesco  Albani,  and 
is  chiefly  known,  as  a  painter,  by  his  perspective 
and  architectural  views.  He  published  a  treatise  on 
perspective,  embellished  with  plates  designed  and 
engraved  by  himself.  His  prints  consist  of  twelve 
perspective  views  of  ruins,  fountains,  and  other 
edifices  in  Italy,  inscribed  Fr.  Vaccaro  fee.  He 
died  in  1675. 

VACCELLINI.     See  Vascellini. 

VACHER,  Charles,  was  born  in  Westminster 
in  1818.  He  went  to  Italy  in  1839,  studied  in 
Rome,  and  afterwards  travelled  in  Sicil}'.  In  1846 
he  was  elected  a  member  of  the  New  Water-Colour 
Society,  now  in  the  Royal  Institute  of  Painters  in 
Water-Colours,  to  the  exhibitions  of  which  he  was  a 
regular  contributor.  His  subjects  were  mostly  from 
Italy,  Algeria,  and  Egypt.  He  died  in  London, 
July  21, 1883.  A  '  Naples,  with  Vesuvius,'  by  him, 
is  at  South  Kensington. 

VACHER  de  TODRNEMINE,  Charles  Emile, 
(or  Vacher  de  Todraine,)  was  born  at  Toulon  in 
1814.    He  was  apupilof  Isabey,  and  at  first  painted 


POINTERS   AND  ENGRAVERS. 


landscapes  from  the  coast  of  Brittany,  but  In  1864 
visited  the  East,  and  thenceforth  chose  Oriental 
subjects.  He  became  assistant  conservator  of  the 
Luxembourg,  and  in  1863  received  the  Legion  of 
Honour.  He  died  at  Toulon  in  1873.  Among  his 
best  paintings  are : 

Coast  View  in  Brittany. 

Thebes  and  Luxor  at  Sunset. 

The  Pyramids  of  Ghizeh. 

View  of  the  Bosphorus. 

Moorish  Churchyard  in  Algeria. 

Turkish  Caf6. 

Salvator  Rosa  among  the  Robbers. 

The  Magi  following  tlie  Star  of  Bethlehem. 

African  Hunt. 

Elephants  attacked  by  Lions. 

Flamingoes  and  Ibis. 

Fishing  Birds. 

VADDER.     See  De  Vadder. 

VAPFLARD,  Pierre  Antoine  Augustin,  a 
French  historical  and  portrait  painter,  was  born  in 
Paris  in  1777.  He  was  a  pupil  of  Regnault.  His 
works  consist  chiefly  of  poetical  subjects,  some  of 
the  earliest  being  'The  Death  of  Jocasta,'  'The 
Blinding  of  CEdipus,'  and  '  The  Death  of  (Edipus.' 
He  also  painted  events  from  the  careers  of  Henry 
IV.,  Napoleon,  Prince  Poniatowski.  His  '  Death  of 
Molifere '  has  been  engraved  by  Migneret.  He  was 
employed  to  restore  tlie  decorative  paintings  at 
Versailles  and  in  the  Tiiileries.  Several  of  his  pic- 
tures are  in  French  provincial  galleries.  He  died 
in  1836. 

VAGA,  P.  del.     See  BnoNACcoRSl. 

VAGNUCCI,  Francesco,  a  painter  of  Assisi,  who 
practised  about  1500.  He  painted  in  the  style  of 
the  quattrocentistii  and  remains  of  his  work  are  to 
be  found  in  his  native  town. 

VAILLANT,  Andr6,  third  brother  and  pupil 
of  Wallerant  Vaillant,  was  born  at  Lille  in  1629, 
and  died  at  Berlin  in  1693.  He  engraved  the 
following  portraits : 

Aloisius  Bevilaqua ;  after  Bernard  Vaillant. 
Johann  Ernst  Schrceder  ;  after  Jakob  Vaillant, 
Gabriel  de  la  Gardie. 

VAILLANT,  Bernard,  was  bom  at  Lille  in 
1626.  The  success  of  his  brother  Wallerant  as  a 
portrait  painter,  induced  him  to  adopt  the  same 
pursuit,  and  to  become  his  brother's  pupil.  He 
chiefly  excelled  in  painting  portraits  in  crayons,  and 
having  accompanied  Wallerant  to  Frankfort  and 
Paris,  he  was  much  employed.  On  his  return  to 
the  Low  Countries,  he  established  himself  at  Rot- 
terdam, where  he  chiefly  resided  for  the  remainder 
of  his  life.  He  died  at  Leyden  in  1674.  He 
engraved  several  portraits  in  mezzotint,  among 
which  are  the  following  : 

Johann  Lingelbach,  Painter ;  after  Schwarz. 

Paul  Dufour ;  after  Wallerant  Vaillant, 

Charles  de  Bochefort ;  B.   Vaillant  ad  vivum  facielat. 

1671. 
Admiral  Sweers. 
Busts  of  St.  Peter  and  St.  Paul ;  froin  his  own  designs. 

VAILLANT,  Jaoqdes,  fourth  of  the  brothers  and 
scholar  of  Wallerant,  was  born  at  Lille  in  1628. 
Whilst  young,  he  visited  Italy,  and  passed  two 
years  at  Rome.  On  his  return  to  Flanders  he  was 
invited  to  the  court  of  the  Elector  of  Brandenburg, 
who,  in  1672,  employed  hira  in  painting  some  his- 
torical subjects.  He  was  then  sent  by  the  Elector 
to  Vienna,  to  paint  the  portrait  of  the  Emperor,  who 
presented  him  on  the  occasion  with  a  gold  medal 
and  chain.     He  died  at  Berlin  in  1691. 

VOL.  V.  Q 


VAILLANT,  Jean,  second  of  the  five  artist 
brothers,  was  born  at  Lille  in  1624,  and  died  at 
Frankfort.  He  painted  and  etched  portraits  and 
landscapes,  but  ultimately  abandoned  art  for  trade. 

VAILLANT,  Wallerant,  painter  and  etcher,  the 
eldest  of  five  brother  artists,  was  born  at  Lille  in 
1623.  After  learning  the  rudiments  of  design  in  his 
native  city,  he  went  to  Antwerp,  where  he  became 
the  disciple  of  Erasmus  Quellin.  On  leaving  the 
school  of  that  master  he  adopted  portrait  painting, 
as  the  most  lucrative  branch  of  art,  and  settling 
at  MJddelburg,  was  received  into  the  Guild  of  St. 
Luke  there  in  1647.  Being  advised  to  visit  Frank- 
fort, at  the  time  (1658)  of  the  coronation  of  the 
Emperor  Leopold,  he  painted  a  successful  portrait 
of  Leopold,  and  his  reputation  was  at  once  estab- 
lished. The  Mar^ohal  de  Grammont  took  him  in 
his  train  to  Paris,  where  he  painted  the  Queen,  the 
Queen  mother,  and  the  Duke  of  Orleans,  and  was 
so  fully  employed  that  in  four  years  he  returned  to 
Flanders  with  a  competent  fortune.  He  settled  at 
Amsterdam,  where  he  died  in  1677.  Some  of  his 
best  portraits  are  in  the  Museum,  and  in  the  French 
Orphanage  in  that  city,  and  in  the  palace  at  Berlin. 
Some  striking  portraits  by  hira  in  chalk  are  pre- 
served at  Berlin  and  Dresden.  He  is  said  to  have 
visited  England  in  the  suite  of  Prince  Rupert,  and 
to  have  learnt  from  that  prince  the  then  newly- 
discovered  process  of  scraping  in  mezzotint.  In 
conjunction  with  the  prince,  and  also  independently, 
he  engraved  a  great  variety  of  plates  in  that  manner, 
some  from  his  own  designs,  some  after  other  masters. 
Among  them  are  the  following: 

Prince  Rupert,  two ;  one  in  armour,  and  one  with  his 
arms  crossed  and  leaning  his  head  on  his  left  hand. 
{After  his  own  desiyn.) 

His  own  Portrait.     (I>o.) 

The  Portrait  of  his  Wife.     (Do.) 

Desiderius  Erasmus. 

Johann  Frobeuius,  the  celebrated  Printer  of  Basle. 

Sir  Anthony  van  Dyck. 

Barent  Graat,  Painter. 

A  young  Artist,  probably  his  brother  Andi^. 

St.  Barbara  ;  after  Jiaphael. 

Judith  ;  after  Guido  Rem. 

The  Holy  Family  ;  after  Titian. 

The  Temptation  of  St.  Anthony;  after  Cam. Frocaccini. 

The  Bust  of  a  'Warrior  ;  after  Tintoretto. 

Venus  lamenting  the  Death  of  Adonis ;  after  Eras. 
Quellin. 

The  Prodigal  Son  ;  after  Marc  Geerarts. 

Judith  and  Jael ;  after  Gerard  de  Lairesse. 
Vaillant  executed   a   few  excellent  portraits  with 
the  point,  among  them  the  following  : 

Archbishop  Johann  Philipp,  Elector  of  Mainz. 

The  Due  de  Grammont. 

The  Emperor  Leopold  I. 

Charles  Louis,  Elector  Palatine,  and  his  Wife.  (Two 
plates.) 

VAILLltlRE, ,  a  French  painter,  of  whose 

career  there  is  no  record.  In  the  Besan5on  Museum 
there  are  drawings  by  him  of  Montbarrey,  Minister 
of  War  under  Louis  XVI.,  and  of  the  Princesse  de 
Montbarrey,  afterwards  Princesse  de  la  Tremoille. 

VAINES,  Maurice  de,  painter,  was  born  at 
Bar-le-Duc,  March  2,  1815,  and  was  a  pupil  of 
Auguste  Conder  and  of  Pigot.  He  worked  much 
as  a  decorative  painter,  and  was  the  author  of  the 
allegorical  paintings  in  the  Chapel  of  the  Grand 
Seminaire,  Blois,  and  of  others  in  the  choir  of  the 
Church  at  Chailles.  His  '  Slave  Market'  is  in  the 
Marseilles  Museum,  and  his  'Death  of  Eustache 
Le  Sueur '  in  the  Orleans  Museum.  He  exhibited 
occasionally  at  the  Salon  between  1839  and  1861. 
He  died  in  1872. 

225 


A  BIOGRAPHICAL  DICTIONARY  OF 


VAINI,  PiETRO,  Italian  painter ;  bom  in  1847 
at  Rome,  where  he  worked  before  settling  in  New 
York  in  1872.  His  clioice  of  subjects,  such  as 
'First  Grief,'  'After  the  War,'  'Veronica  and  her 
dead  Rival,'  showed  the  morbid  bent  of  liis  mind, 
and  this  fact  is  attested  by  his  tragic  suicide  in 
1875  in  New  York. 

VAJANI,  Anna  Maria,  resided  at  Rome  about 
the  year  1650,  where  she  engraved  some  plates  for 
the  '  Giustiniani  Gallery.'  She  also  painted  flov/ers. 
VAJANO,  Alessandro,  or  Orazio,  called  'II 
Fiorentino,'  was  a  native  of  Florence,  and  flourished 
about  the  year  162H.  He  resided  chiefly  at  Milan, 
and  acquired  considerable  reputation  by  pictures 
for  the  churches  of  San  Carlo  and  Sant'  Antonio 
Abate.  Tlicre  are  also  several  of  his  works  at 
Genoa.  Bartsch  has  described  a  print  by  him  of 
a  '  Dead  Clirist  with  the  Instruments  of  the  Pas- 
sion,' and  also  one  of  a  '  Magdalene  '  engraved  after 
him  by  Sebastiano  Vajani,  an  artist  of  whom 
nothing  else  is  known. 
VAL,  Da.     See  Do  Val. 

VAL,  Sfbastiano  de,  (or  D'Vl,)  whose  correct 
name  has  been  given,  perhaps,  by  Zani,  as  Sebas- 
tiano DE  Valentini  Utinense,  was  an  engraver, 
and  flourished  about  the  middle  of  the  16lh  cen- 
tury. All  that  is  certainly  known  is  that  he  en- 
graved two  plates  ;  but  Bartsch  says  that  he  was 
a  painter  of  merit,  and  probably  a  Venetian.  His 
two  prints  are : 

A  Eepose  in  Egypt,  in  which  the  Virgin,  with  the  Infant 

in  her  arms,  rests  at  the  base  of  a  rock  on  the  right, 

and  Joseph  is  seated  on  the  left.     On  a  tablet  is 

inscribed  Sebastiano  JJ\  VL. 

Prometheus  chained,  and  tormented  by  the  Vulture. 

On  a  stone  to  the  right  is  inscribed  SeOastiano  Jf  J'aL 

Vt.  5558.     (Bartsch  says  15558,  but  the  1  may  possibly 

be  a  correction  of  the  5.     Zani  conjectures  that  5558 

represented  the  date  from  the  Creation,  which  would 

be  equivalent  to  a.d.  1554.) 

VALADE,  Jean,  painter,  was  born  at  Poitiers  in 

1709.     He  was  received  by  the  Academj-  in  1750, 

and  became  an  academician  in  1754.     He  was  a 

frequent  exhibitor  of  portraits  in  oil  and  pastel  at 

the   Salon  between  1751    and    1781.     He  died   in 

Paris,  December  12,  1787. 

VALADON,  Jules  Emmanuel,  French  painter, 
born  in  Paris,  October  5th,  1826;  became  a  pupil 
of  Drolling,  Cogniet,  and  Henri  Lehmann.  His 
works  include  '  La  Boh&me  Artiste,'  exhibited  in 
the  Salon  of  1887,  'Coin  du  Jardin,'  'Un  Paysan,' 
and  numerous  portraits.  In  1880  he  obtained  a 
third-class  medal.  He  died  in  Paris,  March  28, 
1900. 

VALBRUN,  Alexis  Leon  Lodis,  painter,  was 
born  in  Paris  in  1803.  He  was  a  pupil  of  Gosse 
and  of  Gros.  He  entered  the  ficoledes  Beaux  Arts 
in  1817.  Exhibited  at  the  Salon  between  1831  and 
1843.  His  portrait  of  Philip  V.  of  Spain  is  in  the 
Versailles  collection.  He  died  in  1862. 
VALBUENA.  See  Medina  y  Valbdena. 
VALCK,  Gerard,  (or  Valk,)  a  Dutch  engraver, 
was  born  at  Amsterdam  about  the  year  1626.  He 
was  first  a  servant  to  Abraham  Blooteling,  but 
having  married  his  master's  sister,  was  instructed 
in  engraving,  and  taken  into  partnersliip.  He 
worked  jointly  with  Blooteling  upon  several  mezzo- 
tints. It  is  therefore  not  unusual  to  find  the  same 
plates  ascribed  to  both.  They  worked  much  for 
Browne,  the  printseller,  who,  as  was  his  custom, 
omitted  their  names  from  the  plates.  In  Blootel- 
ing's  company  Valck  visited  England,  where  he  was 
employed  for  some  time  by  David  Loggan.  Re- 
226 


turning  to  Amsterdam,  he  assisted  Peter  Schenck 
in  the  publication  of  his  large  Dutch  Atlas,  in  two 
folio  volumes,  in  1683.  He  is  believed  to  have 
died  at  Amsterdam  in  1720.  We  have  several  por- 
traits and  other  subjects  engraved  by  him,  both  in 
mezzotint  and  with  the  graver.  Among  others  are 
the  following : 

engraved  plates. 
Hortensia,  Duchess  of  Mancini ;  after  Lely  ;  one  of  his 

best  plates, 
Nell  Gwyn  ;  after  the  same. 
Robert,  Lord  Brooke. 
John,  Duke  of  Lauderdale. 
Burgomaster  Koningh  ;  after  Miereveldt, 

MEZZOTINTS. 
■Wilham,  Prince  of  Orange  ;  after  Lely. 
Mary,  Princess  of  Orange ;  after  the  same. 
Louisa,  Duchess  of  Portsmouth  ;  after  the  same, 
Mary  Davis,  Actress  ;  after  the  same. 
A  Girl  holding  a  Lamp  ;  after  G.  Dou. 
David  and  Bathsheba ;  after  B.  Graat. 
A   Trumpeter  presenting  a   letter  to   a  Lady ;    after 

Terhorch. 
The  Sleeping  Maid. 
A  Death's  Head  crowned  with  Laurel. 
Cupid  asleep ;  after  Guido  Eeni. 

VALCK,  Peter,  painter,  was  bom  at  Leeuwarden, 
Friesland,  in  1584,  and  formed  his  manner  by 
studying  the  works  of  Abraham  Bloeraaert.  He 
afterwards  went  to  Italy,  and  passed  some  years 
in  Rome.  On  his  return  to  Holland,  he  practised 
as  an  historical  painter,  and  excelled  also  in  por- 
traits and  landscapes.  A-  portrait  of  himself,  done 
in  his  twenty-first  year,  is  praised  by  Houbraken. 
He  engraved  a  few  plates,  in  which  he  imitated  tlie 
style  of  Philipp  Galle. 

VALCKENBUKG.     See  Valkenborch. 

VALCKERT,  Werner,  or  Warnard,  van,  (Van 
DEN  Valker,  &c.,)  a  Dutch  painter  and  etcher,  was 
born,  probably  at  Amsterdam,  about  1580.  Ac- 
cording to  Houbraken  he  was  a  scholar  of  Hendrik 
Goltzius,  at  Haarlem.  He  painted  historical  pic- 
tures and  portraits.  He  was  still  alive  in  1635, 
wlien  he  was  at  Delft,  painting  on  fayence.  There 
are  pictures  by  him  in  some  of  the  churches  at 
Utrecht,  and  the  following  are  in  the  Amsterdam 
Museum  : 

The  Archer  company  of  Captain  Albert  Coenraet  Burgh. 

1625. 
Four  Syndics  and  an  Employ^  of  the  Mercer's  Guild. 

1622. 
Four  Male  Regents  of  the  Leper's  Hospital.     1624. 
Three  Female  Regents  of  the  same. 
Five  pictures  from  the  Foundling  Hospital. 
Portrait  of  Swartenhont,  Lieut.-Admiral  of    Holland. 

1627. 
(?)  Portrait  of  Pieter  Dirksz.   Hasselaer. 

He  also  etched  a  few  plates  from  his  own  designs, 
among  them  the  following  : 

His  own  Portrait. 

The  Holy  Family. 

Jacob  with  Joseph's  Coat. 

Tbe  Last  Supper. 

St.  Luke. 

The  Good  Samaritan. 

Venus  sleeping,  surprised  by  two  Satyrs. 

An  old  Man  and  Woman  seated  at  a  table,  with  the 

figure  of  Death  giving  his  hand  to  the  old   Man  ; 

dated  1612. 
Fool  and  Girl. 
Cupid  and  Satyrs. 

VALDELMIRA  de  LEON,  Juan,  was  bom  at 
Tafalla,  in  Navarre  about  1630.  He  was  instructed 
in  the  rudiments  of  design  by  his  father  at  Valla- 


DON   JUAN   DE  VALDES-LEAL 


Haiifstangl  phohi] 


THE  ASSUMPTION  OF  THE  MADONNA 


[Nafional  Gallery 


PAINTERS  AND  ENGRAVERS. 


dolid,  and  after  his  death  entered  the  school  of 
Francisco  Rizi,  at  Madrid.  He  assisted  that  master 
in  several  of  his  works,  particularly  in  the  Portu- 
guese church  at  Toledo,  in  the  Retiro,  and  other 
places.  But  his  chief  excellence  was  in  flower- 
pieces.     He  died  in  his  thirtieth  year. 

VALDES,  Lucas  de,  a  painter  and  engraver, 
was  the  son  of  Juan  de  Valdes-Leal,  and  of  his 
wife  Isabella  Carasquilla.  He  was  born  at  Seville 
in  1661,  and  at  the  age  of  eleven  he  engraved  four 
plates,  which  are  to  be  found  in  '  Fiestas  de  Seville 
6  la  canonizacion  de  San  Fernando,'  and  form  em- 
blematic allusions  to  the  virtues  of  that  Saint.  He 
became  mathematical  master  of  the  Marine  College 
at  Cadiz,  but  continued  the  exercise  of  the  pencil 
and  graver  till  his  death  there  in  1724.  His  sacred 
subjects  are  chiefly  in  the  cathedral  and  churches 
of  Seville,  and  there  is  one  in  the  Museum  of  that 
city.  He  also  painted  pictures  of  Saints  and  por- 
traits, several  of  which  he  engraved  ;  among  them 
the  portrait  of  Father  Francisca  Tamariz,  and  that 
of  the  philanthropist  Manara.  His  son,  Jdan  de 
Valdes,  distinguished  himself  as  an  engraver,  par- 
ticularly of  religious  subjects  for  books  of  devotion. 
VALDES,  Maria  and  Ladra  de,  daughters  of 
the  Spanish  painter,  Juan  de  Valdes-Leal,  were 
miniature  painters.  Maria  died  in  the  Cistercian 
Convent  at  Seville,  in  1730. 

VALDES,  Sebast.  See  Llanos  t  Values. 
VALDES-LEAL,  Don  Juan  de,  was  born  at 
Seville  in  1630,  and  distinguished  himself  as  a 
painter,  sculptor,  and  architect.  He  worked  for  a 
time  under  Antonio  del  Castillo.  Of  his  pictures, 
the  most  worthy  of  notice  are  a  '  History  of  the 
Prophet  Elias,'  in  the  church  of  the  Carmelites  ; 
the  'Martyrdom  of  St.  Andrew,'  in  the  church  of 
S.  Francesco,  at  Cordova;  the  'Triumph  of  the 
Cross,'  in  la  Caridad,  at  Seville  ;  and  the  'Assump- 
tion,' in  the  National  Gallery.  He  was  one  of 
the  founders  of  the  Seville  Academy.  He  lived 
in  habits  of  intimacy  with  Murillo,  who  was  an 
admirer  of  his  works,  and  died  at  Seville  in  1691. 
He  has  left  two  plates.  His  wife,  Isabella  Caras- 
quilla, was  also  a  painter.  She  died  at  Seville  in 
1730. 

VALDIVIESO  Y  HENAREJOS,  Domingo,  was 
born   at  Mazarron,   in  Murcia,   in  1832.     He  was 
first  a  pupil  of  Juan  Albacete,  and  then  studied 
successively  in  the  Schools  of  Art  at  Madrid,  in 
Paris,  and  in  Rome.     After  his  return  he  became 
anatomical  teacher  to  the  Academy  of  San  Fernando. 
About  1870  his  mind  was  for  a  time  deranged.     He 
died  in   1872.     He   painted    portraits,  genre  sub- 
jects, and  historical  pictures  ;  among  the  latter  are : 
The  Entombment. 
The  First  Communion. 
PhiHp  II.  on  the  occasion  of  an  Anto  da  FJ. 

VALDOR,  Jan,  the  elder,  an  engraver,  was  bom 
at  Liege  about  1580.  He  was  a  pupil  of  Wierix, 
and  engraved  portraits,  historical  subjects,  and  title- 
pages  for  books.  An  '  Assumption  of  the  Virgin  ' 
and  a  '  Conversion  of  St.  Paul '  are  among  his  plates. 

VALDOR,  Jan,  the  younger,  (or  Waldor,)  was 
a  native  of  Lifege  ;  his  birth  has  been  assigned  both 
to  1590  and  1602.  He  is  supposed  to  have  been 
the  son  of  Jan  Valdor  the  elder  ;  if  so,  the  latter 
date  is  probably  the  right  one  for  his  birth.  He 
closely  followed  the  style  of  VVenzel  Hollar.  He 
was  sent  when  young  as  plenipotentiary  to  the 
French  court,  where  he  attracted  the  notice  of 
Mazarin.  He  from  this  time  chiefly  resided  in 
Paris,  where  he  executed  a  considerable  number  of 
Q  2 


plates,  representing  saints  and  devotional  subjects. 
He  also  engraved,  after  Michel  Pontianus,  some  of 
the  plates  for  '  Les  Triomphes  de  Louis  le  Juste,' 
published  in  Paris  in  1649.  These  are  his  best 
performances.  We  have  besides,  by  hira,  a  '  Repose 
of  the  Holy  Family,'  after  Herm.  Swanevelt ;  and 
a  head  of  St.  Ignatius  Loyola,  very  highly  finished. 
After  the  death  of  his  wife  he  returned  to  Liege, 
and  became  an  ecclesiastic.  His  death  occurred 
after  1649. 

VALEE.     See  ValliSe. 

VALEGGIO  (Valeqio,  or  Valegius).  See 
Valesio. 

VALENCIA,  Jacopo  da,  sometimes  called  Valen- 
TINA,  learnt  his  art  in  Murano,  and  was  probably  a 
disciple  of  the  Vivarini.  His  earliest  picture  is  a 
Madonna  and  Child,  dated  1485,  belonging  to  the 
Pagani  Family,  at  Belluno.  The  Correr  Museum, 
in  Venice,  has  a  similar  subject,  dated  1488  ;  the 
Berlin  Gallery  contains  two  Madonnas ;  in  the 
church  of  San  Giovanni,  Serravalle,  is  an  Enthroned 
Virgin  and  Child,  dated  1602  ;  the  cathedral  of 
Ceneda  possesses  two  Madonnas,  one  dated  1508  ; 
and  in  the  Academy  of  Venice  there  is  a  Virgin 
and  Child,  dated  1509.  The  dates  of  neither  his 
birth  nor  death  are  known. 

VALENCIA,  Matias  de.     See  Chafrion. 

VALENCIENNES,  Pierre  Henri,  (or  Devalen- 
ciennes,)  landscape  painter,  was  born  at  Toulouse 
in  1750,  and  after  studying  for  a  time  in  his  native 
city,  was  sent  by  his  parents  to  Paris,  where  he 
became  a  pupil  of  Doyen.  He  subsequently  visited 
Italy,  and  studied  the  works  of  Claude  and  Poussin 
at  Rome.  On  his  return  to  France  he  formed  a 
school,  from  which  issued  many  well-known  masters 
of  classical  landscape.  He  exhibited  at  the  Salon 
from  1787  to  1814.  He  became  a  member  of  the 
old  Academy  of  Painting  in  1787.  He  died  in  Paris 
in  1819.  His  principal  pictures  are,  'Cicero  dis- 
covering the  tomb  of  Archimedes ;  two  subjects 
from  (Edipus ;  '  Philoctetes  in  the  island  of 
Lemnos  ; '  a  '  View  of  the  ancient  city  of  Troezene  ; ' 
the  '  Vale  of  Tempe  ;  '  and  the  '  Dance  of  Theseus.' 
Besides  these  he  painted  a  great  number  of  land- 
scapes. Several  of  his  pictures  have  been  engraved. 
He  published  a  treatise  entitled  '  filaments  de  Per- 
spective pratique  h  I'usage  des  Artistes.' 

VALENS,  (or  Falens,)  Cuarles  van,  painter, 
born  at  Antwerp  in  1683,  was  a  pupil  of  Constantinus 
Francken  about  1696.  In  1703  he  went  to  France, 
and,  practising  in  Paris,  became  a  member  of  the 
Academy  in  1726.  He  married  Marie,  the  daughter 
of  the  sculptor,  Sebastien  Slodts,  in  1716,  and  be- 
came painter  in  ordinary  to  the  French  king.  He 
painted  battle-pieces,  hunting-scenes,  &c.,  in  close 
imitation  of  the  manner  of  Philips  Wouverman,  and 
his  works  show  little  trace  of  any  original  talent. 
In  the  Dresden  Gallery  there  is  a  '  Starting  for  a 
Heron  Hunt'  by  him,  and  two  pictures  in  the 
same  genre  in  the  Stockholm  Gallery.  He  died  in 
Paris,  May  26,  1733. 

VALENTIN,  a  painter,  who,  though  French  by 
birth,  should  be  classed  among  the  Naturalisti  of 
the  Italian  school.  He  was  born  at  Coulommiers 
(Seine  et  Marne)  in  1600.  But  little  is  known 
concerning  him:  even  his  name  has  been  a  subject 
of  doubt.  He  has  frequently  been  assigned  the 
Christian  name  of  Pierre,  and  sometimes  that  of 
Moi'se.  The  latter  has  been  shown  to  be  a  cor- 
ruption of  the  title  "Mosu"  prefixed  to  his  name 
by  the  Italians.  He  has  been  called  Jean  Rasset, 
but  his   real   name  would   appear  to   have   beeD 

227 


A  BIOGRAPHICAL  DICTIONARY  OF 


Jean  de  Boullongne,  and  his  pseudonym  of  Valen- 
tin to  have  heen  taken  from  the  Christian  name 
of  his  father.  He  found  Iiis  way  to  Rome  when 
very  young.  Here  he  is  said,  doubtfully,  to  have 
studied  under  his  countryman  Vouet,  then  in  the 
height  of  his  Italian  reputation.  Some  writers, 
influenced  by  the  reflection  of  Caravaggio  seen  in 
his  works,  have  called  him  a  pupil  of  that  master. 
That  this  is  a  mistake  is  evident  from  the  fact 
that  Caravaggio  died  in  1609.  He  shows  the 
weaknesses  and  stroug  points  of  that  painter. 
His  drawing  is  vigorous,  and  his  treatment  of 
light  and  shade  powerful,  though  frequently  over- 
strained. In  his  choice  of  subjects,  like  the  other 
Naturalisti,  he  seems  to  have  found  nature  only 
in  her  ugliest  and  most  ignoble  forms.  Valentin 
was  known  to  Sandrart  and  to  Nicolas  Poussin. 
Like  both  of  these  painters,  he  was  patronized  by 
Cardinal  Barberini,  for  whom  he  painted  the  '  Exe- 
cution of  St.  John  Baptist.'  Througli  the  influence 
of  the  same  patron,  he  obtained  the  commission 
for  his  principal  work,  the  '  Martyrdom  of  SS. 
Processus  and  Martinianus,'  for  St.  Peter's.  Another 
important  commission  was  the  picture  of  '  Peter 
denying  Christ,'  now  in  the  Corsini  Palace  at 
Kome.  But  it  is  not  in  works  of  this  character 
that  he  is  in  his  element.  He  was  a  man  of 
irregular  life,  and  the  scenes  most  congenial  to 
him  are  those  peopled  by  wandering  musicians, 
swashbucklers,  gamesters,  gipsies,  and  pickpockets. 
His  career  was  cut  short  by  a  fever  caused  by 
imprudently  bathing  when  heated  after  an  orgy. 
He  died  at  Rome  August  7,  1634.  One  etching 
was  formerly  attributed  to  Valentin.  It  is  now 
ascribed  to  another  hand.  The  following  is  a 
list  of  his  pictures  in  some  of  the  chief  European 
galleries : 


Antwerp. 
Berlin. 


Academy. 
Museum. 


Copenhagen  ,, 

Dresden.  Gallen-y. 

Florence.  Pj/"-'- 

»»  " 

Madrid.  Museum. 

Montpellier.  „ 
Munich.         Finakothek. 


Paris. 


louvre. 


Petersburg.    Hermitage. 


Card-players. 

Our  Lord  washing  the  Disciples' 
Feet. 

Bad  Company. 

Carnival  Scene. 

The  Blind  Musician. 

The  Mote  in  the  Eye. 

The  Guitar  Player. 

Martyrdom  of  St.  Lawrence. 

Two  Young  Men  Drawing. 

Presentation  in  the  Temple. 

Queen  Artemisia. 

The  Judgment  of  Daniel. 

The  Judgment  of  Solomon. 

The  Tribute  Money. 

The  Concert. 

The  Fortune-Teller. 

An  Inn. 

Christ  Expelling   the    Traders 
from  the  Temple. 

The  Denial  of  St.  Peter. 

Soldiers  Dicing. 

A  Concert. 

Martyrdom    of    SS.  Processus 
and  Martinianus. 

Death  of  John  the  Baptist. 

Joseph  interpreting  Dreams. 

Call  of  St.  Matthew. 

St.  John  Baptist. 

Christ  scourged. 

The  Evangelists  (four  pictures). 

Moses  with  the  Tables  of  the 
Law.  o.J.D. 

VALENTIN,  A —  Henri,  painter  and  illustrator, 
was  born  at  Allarmont  in  1820,  and  died  in  1855. 
He  painted  genre  subjects  and  aquarelles,  but  was 
better  known  by  his  designs  for  the  '  Magasin 
Pittoresque  '  and  other  papers. 

VALENTIN,  GOTTFBIED,  a  painter  of  Leipsic  in 
228 


Rome. 


Vatican. 


„  Pal.  Sciarra. 

„  Pal.  Borghese. 

Eoiien.  JIuseum. 

Stockholm,  yat.  Galleri/. 
Turiu.  Gallery. 

Versailles.  Palace. 

Vienna.  Gallery. 


the  17th  century,  produced  numerous  animal  and 
hunting  pieces,  and  allegories.  One  of  the_  latter, 
a  '  Vanity,'  is  in  the  city  library  at  Leipsic,  and 
represents  a  skeleton  playing  upon  the  harpsichord. 

VALENTINA,  Jacopo.    See  Valencia. 

VALENTINI,  Ernst,  a  German  painter,  was 
born  at  Westerburg  in  1759.  He  was  at  first  a 
bookseller  in  Frankfort,  but  practised  drawing  and 
silhouetting  in  his  leisure  hours,  till  in  1780  a 
portrait  of  his  gained  him  sufficient  notoriety  to 
cause  him  to  proceed  to  Italy  for  improvemi^nt. 
He  attended  the  Academies  of  Turin  and  Milan. 
At  Parma  he  painted  the  Duke  and  his  family, 
and  at  Florence  (1787)  the  Grand  Duke  (after- 
wards the  Emperor)  Leopold.  From  1789  till  1794 
he  was  in  Rome.  In  the  latter  year  he  returned  to 
Germany,  where  he  lived  partly  at  Oettingen  and 
partly  at  Detmold  as  court  painter.  In  his  later 
career  he  painted  landscapes  and  mmiature  por- 
traits.    He  died  in  1820. 

VALENTINY,  JInos,  Hungarian  painter ; 
born  January  1,  1842,  at  Nagy-Lak,  Hungary; 
was  a  pupil  of  Csillag  at  Arad,  and  of  Van  der 
Venne  at  Budapest;  Count  Nadasdy_  afterwards 
enabled  him  to  study  in  Paris,  and  in  1873  he 
worked  at  Munich.  He  also  lived  in  Italy  for 
over  two  years,  and  afterwards  stayed  at  Nadasd- 
Ladany,  the  estate  of  his  life-long  patron  and 
friend.  Works  by  him  include  'Santa  Elena,' 
'The  Broken  Pitcher,'  'Storm  on  the  Plattensee,' 
and  '  The  Dying  Gipsy.'     He  died  in  1899. 

VALERIANI,  Padre  Giuseppe,  according  to 
Baglione,  was  a  native  of  Aquila,  and  flourished 
at  Rome  in  the  pontificate  of  Clement  VIII.  (1592 
— 1605).  It  is  not  said  under  whom  he  studied,  but 
he  imitated  the  style  of  Sebastiano  del  Piombo.  In 
this  manner  he  painted  for  the  church  of  San  Spirito 
in  Sassia,  two  pictures,  representing  the  'Tians- 
figuration  '  and  the  '  Descent  of  the  Holy  Ghost.' 
He  afterwards  became  a  Jesuit,  and  painted  several 
scenes  from  the  Life  of  the  Virgin  for  the  church 
of  his  order. 

VALERIC,  Theodore,  a  French  pamter, 
draughtsman,  engraver,  and  lithographer,  born  at 
Herserange  in  1819.  He  was  a  pupil  and  friend 
of  Charlet.  His  works  first  appeared  at  the  Salon 
in  1838,  when  he  exhibited  a  'Corps  de  Garde 
Flamand.'  He  travelled  in  Germany,  Switzerland, 
Itiily,  the  Herzegovina,  and  stayed  for  some  con- 
siderable period  in  Transylvania  and  in  the  Carpa- 
thians, and  visited  the  more  remote  villages  of 
Hungary,  Montenegro,  and  Roumania.  Some  of 
the  Oriental  habits  of  these  people  interested  him 
very  much,  and  he  was  never  tired  of  painting 
groups  of  Hungarian  peasantry.  His  drawings  of 
the  people  and  scenery  of  South-Eastern  Europe 
made  his  reputation.  On  the  outbreak  of  the 
Rnsso-Turkish  war  of  1853,  he  accompanied  the 
Turkish  army,  and  exhibited  a  series  of  water- 
colour  sketches  then  made  by  him  at  the  Paris 
Exhibition  of  1855.  Of  a  retiring  disposition,  his 
latter  years  were  spent  in  a  secluded  corner  of 
Brittany.  He  visited  England  for  a  short  time, 
but  was  greatly  disappointed  in  what  he  called 
"  the  grey-and-green  appearance  of  the  country," 
returning  with  much  pleasure  to  the  vivid  and 
sumptuous  colouring  of  the  people  he  so  delighted 
to  represent.  He  died  at  Vichy  in  September 
1879. 

VALERO,  Crist6bal,  was  bom  at  Alboraya, 
Valencia,  early  in  the  18th  century.  He  was  at 
first  a  student  of  philosophy,  but  later  devoted  him- 


PAINTERS  AND  ENGRAVERS. 


self  to  art  under  Evaristo  Munoz,  and  afterwards 
travelled  to  Rome,  where  he  worked  with  Sebas- 
tian Conca.  On  his  return  he  became  a  priest,  and 
also  (1754)  director  of  the  Academy  of  Santa  Bar- 
bara ;  in  1762  he  was  made  an  honorary  member  of 
that  of  San  Fernando,  and  in  1768  director  of  that 
of  San  Carlos.  He  died  at  Valencia  in  1789.  Some 
of  his  pictures  are  in  the  churches  of  Valencia  ;  in 
the  Archiepiscopal  Palace  in  the  same  city  there 
are  portraits  of  various  prelates,  while  the  Madrid 
Museum  possesses  two  scenes  from  'Don  Quixote' 
by  him. 

VALERY,  Caroline  de.  A  picture  signed  with 
this  name  liangs  in  the  Glasgow  Gallery.  It  is  in 
the  style  of  Greuze,  and  represents  a  girl  examining 
a  miniature,  but  nothing  is  known  of  its  author. 

VALESCAKT,  (or  Walescart,)  Jan,  a  painter 
of  Liege,  who  flourished  in  the  l7th  century.  He 
studied  first  at  Antwerp,  and  afterwards  went  to 
Italy  to  complete  his  education  in  Guido's  atelier. 
He  died  at  Liege  in  1675. 

VALESIO,  Francesco,  (Valeggio,  Valegius, 
&c.)  who  was  born  at  Bologna  in  1560,  is  men- 
tioned by  Florent  le  Comte  as  both  painter  and 
engraver  ;  he  has  left  several  plates  from  his  own 
compositions,  as  well  as  frontispieces  and  other 
book-ornaments.  His  most  important  work,  how- 
ever, is  a  set  of  Hermits,  engraved  for  the  ■  Illus- 
trium  Anachoretorum  Elogia,'  written  by  Jacobus 
Cavacius,  a  Benedictine  monk,  and  published  at 
Venice  in  1612.  He  also  engravid  some  portraits 
and  views  of  towns,  after  Pietro  Facini  and  other 
masters.  He  carried  on  a  business  as  an  art  dealer 
in  partnership  with  one  Doino. 

VALESIO,  GlACOMO,  (Valegio,  &c.)  an  Italian 
engraver,  was  a  native  of  Verona,  and  flourished 
towards  the  close  of  the  16th  century.  His  plates 
are  executed  with  the  graver,  in  a  style  resembling 
that  of  Cornells  de  Cort,  but  very  inferior  to  it. 
Among  other  prints  by  him,  we  have  one  of '  St. 
Michael  vanquishing  the  Evil  Spirits,'  after  Paolo 
Veronese,  and  bearing  the  signature  Jacom.  Vale- 
gio fecit,  1587.  Niccol6  Valegio,  another  en- 
graver, flourished  about  the  same  time ;  he  was 
also  of  Verona,  and  both  were  publishers. 

VALESIO,  Giovanni  Ldigi,  was  born  at  Bologna 
about  1579.  He  was  the  son  of  a  S|ianish  soldier, 
and  was  at  first  a  dancing  and  drill  master,  but 
took  to  decorating  doctors'  patents,  and  in  1610 
entered  the  school  of  Lodovico  Carracci.  Here  he 
studied  miniature  as  well  as  fresco  painting,  and 
also  executed  some  pen-and-ink  drawings.  In 
1621  he  proceeded  to  Rome,  where  he  prepared 
designs  for  the  embroideries  of  the  Countess 
Lodovisi,  and  then  became  secretary  to  the  Cardinal 
of  that  name,  who  presently  succeeded  to  the 
Popedom  as  Gregory  XV.,  and  employed  Valesio 
to  paint  in  his  palace.  Valesio  died  at  Rome  not 
sooner  than  1623.  Among  his  works  at  Bologna 
are,  a  '  Scourging  of  Christ,'  in  the  church  of  San 
Pietro  ;  an  '  Annunciation,'  at  the  Mendicanti ; 
and  '  St.  Roch  curing  the  Plague-stricken,'  in  the 
church  dedicated  to  that  Saint.  At  Rome  his  best 
work  is  '  Religion,'  in  the  Minerva  Monastery.  He 
etched  several  plates  from  his  own  designs,  and  after 
other  masters,  as  well  as  a  variety  of  plates  for 
books.  In  these  he  approached  the  style  of  Agos- 
tino  Carracci.  Among  others,  we  have  the  following 
prints  by  him  : 

The  Virgin,  with  the  Infant  Christ  seated  on  her  lap ; 

after  bis  own  design. 
Venus  threatening  Oupid ;  do. 


VenuB  chastising  Cupid ;  do. 
Funeral  of  Gregory  XV.     (1623.) 

VALET.     See  Vallet. 

VALETTE-FALGOUS,  Jean,  called  Penot, 
painter,  was  born  at  Montauban  in  1710.  There 
are  some  pictures  of  still-life  by  him  in  the  museum 
of  his  native  town.     He  died  after  1776. 

VALETTE,  LO0IS  Antoine,  was  born  in  Paris 
in  1787.  He  was  a  pupil  of  Guerin  and  Ch^ry. 
The  only  picture  he  exhibited  was  a  'Cephalus  and 
Procris,'  at  the  Luxembourg  in  1830.  In  that  same 
year  he  was  killed  by  a  soldier  during  the  street- 
fighting  of  the  "  Days  of  July." 

VALETTE,  Paul  Bernard,  wood-engraver,  was 
born  at  Toulouse  in  1852.  He  was  a  pupil  of 
M.  Pannemaker  and  of  the  Ecole  Nationale  de 
Dessin.  He  exhibited,  at  the  Salon,  wood-engrav- 
ing after  well-known  painters,  such  as  Baudry, 
Carolus  Duran,  Merci^,  Madrazo,  and  Gautherin  ; 
also  after  Michelangelo  and  Albrecht  Dtirer.  He 
died  in  Paris  June  9,  1880. 

VALIN,  ,  painter.    All  that  is  known  of  him 

is  that  a  picture  signed  with  his  name  exists  in  the 
StrasburK  Museum. 

VALK,  Gerard.  See  Valck. 
VALK,  H.  (J.?)  — ,  a  Dutch  painter  of  whom 
scarcely  anything  is  known.  He  worked  in  the 
second  half  of  the  17th  century,  and  two  pictures 
by  him  are  in  the  Amsterdam  Museum  ;  a  portrait 
of  Hans  Willem,  Baron  van  Aylva,  and  another 
of  his  wife. 
VALK,  PiETER  DE.  See  Valck. 
VALKENBORCH,  Frederik  van,  the  son  of 
Lucas  van  Valkenborch,  is  said  to  have  been  born 
at  Mechlin  in  1570,  and  was  instructed  by  his 
father.  He  travelled  to  Venice  when  still  young, 
studied  the  works  of  Titian,  Tintoretto,  and  P. 
Veronese,  and  afterwards  settled  with  his  father  in 
Nuremberg.  Though  he  occasionally  painted  his- 
torical subjects,  he  was  more  successful  with  per- 
spective views,  markets,  fairs,  and  festivals,  in 
which  he  usually  introduced  a  great  number  of 
figures.  His  works  are  little  known  out  of  Ger- 
many. He  passed  the  latter  part  of  his  life  at 
Nuremberg.  In  1612  he  painted  a  triumphal  arch 
for  the  entry  of  the  Emperor  into  the  city.  He  died 
in  1623.  He  is  the  author  of  a  '  Village  Fete  '  (1594) 
and  a  'Fair'  (1595),  in  the  Vienna  Gallery;  and 
of  landsfajies  in  those  of  Frankfort  and  Brunswick. 
VALKENBORCH,  Lucas  van,  was  born  at 
Mechlin  about  1530,  and  lived  in  that  town  and 
Antwerp.  He  was  registered  in  the  Guild  of  St. 
Luke  in  1560,  and  became  a  master  in  1564.  He 
painted  landscape  and  genre  subjects  with  peasants 
and  soldiers  in  water-colours,  as  well  as  portraits 
in  miniature.  During  the  troubles  in_  the  Nether- 
lands he  took  the  popular  side,  and,  in  1566,  was 
compelled  to  fly  from  Mechlin.  After  a  stay  at 
Antwerp,  where  he  joined  his  brother  Marten,  and  is 
believed  to  have  studied  under  Pieter  Brueghel,  the 
brothers,  accompanied  by  Jan  Vredeman  de  Vries, 
proceeded  to  Aix-la-Chapelle  and  Lifege,  where  they 
produced  a  number  of  landscapes.  Lucas  seems  to 
have  returned  to  the  Netherlands  for  a  short  time, 
but  the  Spanish  triumphs  sent  him  back  to  Ger- 
many. In  1570  he  obtained  the  patronage  of  the 
Archduke  Matthias,  whom  he  accompanied  to 
Linz.  There,  until  the  outbreak  of  the  Turkish 
war,  he  painted  miniature  portraits,  and  landscapes 
with  genre  subjects  introduced.  In  1594  he  was 
at  Frankfort  a.  M.,  where  Georg  Hoefnagel  em- 
ployed him  on  designs,  and  in  1597  he  was  back  at 


A   BIOGRAPHICAL  DICTIONARY  OF 


Nuremberg,  where  Saudrart  says  lie   met   him  in 
1622.     At  that  date  he  would  be  about  ninety-two. 
In  addition  to  landscapes  at  Brunswick  and  Frank- 
fort, there  remain  the  following  by  him: 
Vienna  Gallery.    The  Four  Seasons.     1580-7. 

_  „  Stag  Hunt.     1590. 

„  Portrait. 

Amhraser  Coll.     Landscape.    1585. 

Banquet  of  Persons  of  Rank. 

VALKENBORCH,  Marten  van,  brother  of 
Lucas  van  Valkenborch,  was  born  at  Mechlm  in 
1542  (some  say  1533),  was  enrolled  in  the  Mechlin 
Guild  in  1559,  went  to  Antwerp  in  1565,  and  in 
1566  accompanied  his  brother  to  Lifege  and  Aix 
At  a  later  period  he  settled  at  Frankfort.  He  died 
after  1602.  He  painted  landscapes,  portraits,  and 
genre  subjects.  There  is  a  '  Kerinesse '  by  him  in 
the  Vienna  Gallery;  a 'Tower  of  Babel,"  at  Dres- 
den ;  several  landscapes  in  the  Ambraser  Collection 
at  Vienna,  and  other  pictures  at  Frankfort  (private 
collectionK)  and  Gotha. 

VALKENBORCH,  Marten  van,  the  younger, 
probably  a  son  of  Marten  van  Valkenborch  the 
elder,  was  a  painter  of  Frankfort,  and  died  there 
in  1636.  A  companion  picture  to  Frederik  van 
Valkenborch's  'Village  Fete,'  by  Marten  the 
vounger,  is  preserved  in  the  Vienna  Gallery. 

VALKENBORCH,  Theodoor,  Dirk,  or  Gillis 
VAN  was  born  at  Amsterdam  in  1675,  and  was  first 
a  scholar  of  Cuylenborch,  but  he  afterwards  studied 
under  Michiel  van  Musscher.  Ultimately  he  became 
the  pupil  of  Jan  Weenix,  and  painted  similar  sub- 
jects to  his.  In  1695  he  travelled  in  Germany, 
with  the  intention  of  visiting  Italy,  but  he  wai^ 
commissioned  to  paint  some  pictures  at  the  court 
of  the  Duke  of  Baden,  and  afterwards  visited  Vienna 
with  a  recommendation  to  Prince  Liechtenstein. 
He  was  so  much  employed  in  that  capital,  that  he 
renounced  his  project  of  visiting  Rome,  and  amassed 
a  fortune.  After  a  time  he  returned  to  Holland, 
where  he  was  employed  to  paint  for  the  palaces  at 
Loo.  Subsequently,  however,  he  met  with  domestic 
afflictions,  and  emigrated  to  Surinam,  where  he  died 
in  1725.     Works : 

Brunswick.  Gallert/,    Defeat  of  Sennacherib. 

Frankfort.     StUel  Inst.     Study  of  Dead  Game. 

VALKENBURG,  IlENDRiK,Dutch  genre  painter  ; 
born  September  8,  1826,  at  Deventer  ;  became  a 
pupil  of  the  Antwerp  Academy.  For  a  long  while 
he  filled  an  obscure  position  as  teacher  of  drawing, 
and  until  the  year  1883  was  comparatively  un- 
known. His  early  inauiier  recalls  that  of  Denner. 
'Heirathsantrag'  by  him  is  in  the  Amsterdam 
Museum,  and  his  other  works  include  '  Willkom- 
men,'  '  Im  Gemusegarten,'  '  Der  Letzte  Gang,'  and 
'  Bauernstube.'  He  settled  at  Amsterdam,  and 
died  October  30,  1896. 

VALKERT  (Valker,  &c.).  See  Van  den 
Valckkrt. 

,  VALLANCE,  William  Fleming,  was  born  at 
Paisley  in  1827.  His  strong  predilection  for  ships 
and  the  sea,  and  his  taste  for  drawing,  sho\yed 
where  his  powers  lay.  He  got  his  artistic  training 
in  Edinburgh,  latterly  under  Robert  Scott  Lauder, 
and  at  first  devoted  himself  to  figure  subjects,  but 
soon  found  his  true  vocation  in  depicting  the  sea 
in  its  varied  moods.  He  was  indefatigable  in  his 
open-air  study  of  nature,  and  made  many  water- 
colour  sketches  of  sea  and  sky.  In  1853  he  made 
his  first  appearance  at  the  Exhibition  of  the  Royal 
Scottish  Academy,  of  which  body  he  was  elected 
an  Associate  in  1875,  and  a  full  Academician  in 
230 


1881.  He  also  exhibited  regularly  at  the  Glasgow 
Institute,  and  frequently  at  the  Royal  Academy, 
London.  '  Break,  Break,  Break,'  '  Crossing  the 
Bar,'  'The  Busy  Clyde,'  'The  Port  of  Leith'  (Albert 
Institute,  Dundee),  and  'Heading  the  War  News' 
(diploma  picture  in  the  National  Gallery  of 
Scotland),  are  characteristic  examples  of  his  work. 
For  several  years  before  liis  death  in  August  1904, 
he  had  been  in  weak  health  and  on  the  retired  list 
of  the  Academy.  J.  H.  W.  L. 

VALLAYER-COSTER,  Anne,  a  paiuter  of 
flowers,  animals,  and  still-life,  was  born  in  Paris 
in  1744,  and  died  in  1818.  She  was  admitted  into 
the  Academy  in  1770  as  a  painter  and  sculptor. 

VALLEE,  Alexandre,  designer  and  engraver, 
was  born  at  Bar-le-Duc  about  1558,  and  is  known 
by  some  134  unimportant  plates,  executed  with  the 
point  and  graver.  They  include  some  religious 
subjects  after  Sustris,  Sprangher,  and  others  ;  also 
plates  after  antique  medals,  architectural  subjects, 
portraits,  &c. 

VALLEE,  Etienne,  or  Stefano,  de  la.  See 
De  la  Vall^e. 

VALLEE,  Simon,  (or  Val^e,)  was  born  in  Paris 
about  the  year  1700.  He  was  a  pupil  of  Pierre 
Drevet,  and  has  engraved  several  plates,  which  are 
etched  and  finished  with  the  graver.  The  follow- 
ing are  among  the  best : 

Jean  de  Troy,  Paiuter  to  the  King ;  after  Fras.  de  Troy. 
Jean  Francois  Savarj,  Curate  of  S.  Menehoult ;  after 

the  same. 
The  Transfignration  ;  after  Raphael. 
St.  John  in  the  Wilderness  ;  after  the  same. 
The  Flight  into  Egypt ;  after  Carlo  Maratti. 
The  Eesiirrection  of  Lazarus  ;  after  Girolamo  Muziano. 
The  Finding  of  Moses  ;  after  Francesco  Romanelli. 
Christ  bearing  His  Cross  ;  after  Andrea  Sacchi. 
The  Death  of  the  Virgin  ;  after  Caravagyio. 
The  Sacrifice  of  Abraham  ;  after  Ant.  Coypel. 
Christ  blessing  Little  Children  ;  after  P.  J.  Gazes. 
The  Descent  of  the  Holy  Ghost ;  after  the  same. 
« 

VALLENBURGH.     See  Valkenborch. 

VALLES,  Josef  and  Jdan,  two  brothers,  were 
engravers  at  Saragossa  in  the  reign  of  Philip  IV. 
Josef  engraved  the  title-page  to  Leonardo  de 
Argensola's  'Annals  of  Arragon '  ;  Juan,  from  a 
design  by  Juan  Martinez,  engraved  the  frontispiece 
to  a  work  on  the  birthplace  of  San  Lorenzo,  by  Juan 
de  Ustarroz. 

VALLET,  Gdillaume,  (or  Valet,)  a  French 
engraver,  was  born  in  Paris  in  1633.  His  father, 
also  an  engraver,  died  when  Vallet  was  but  three 
years  old,  and  his  mother  placed  him  under  Daret 
at  an  early  nge.  He  made  rapid  progress,  and  at 
the  age  of  twenty  travelled  to  Rome,  with  his 
friend,  Etienne  Picart,  and  studied  under  Maratti. 
After  a  stay  of  eight  years  in  Rome,  where  he  en- 
graved chiefly  after  the  Italian  and  French  masters, 
he  returned  to  settle  in  Paris,  where  he  died  July 
1,  1704.  He  exhibited  at  the  Salon  in  1673  and 
1699.  Among  others,  we  have  the  following  prints 
by  him  : 

Portrait  of   the  Poet  Virgilio  of  Barrea;  after  P.  F. 

Mola  ;  his  best  plate. 
Charles  Emannel,  Duke  of  Savoy. 
Louis,  Duke  of  Mantua. 
Alessandro  Algardi,  Sculptor. 
Andrea  Sacchi,  Painter  ;  after  Carlo  Maratti. 
The  Bust  of   Comeille,  crowned  by  Melpomene   and 

Thalia ;  after  Paillet. 
Olympia  Maldachini,  Eoma,  1657. 
The  Nativity ;  after  Raphael. 
The  Holy  Family ;  after  the  same. 


PAINTERS  AND   ENGRAVERS. 


Melchizedeck  bringing  presents  to  Abraham ;  after  the 

same. 
The  Last  Supper  ;  after  the  same. 
The  Holy  Family ;  after  Guido  Eeni. 
The  Holy  Family ;  after  Albani.    From  the  picture  in 

the  Louvre,  called  '  La  Laveuse.* 
A  Repose  in  Egypt ;  after  Carlo  Maratti. 
The  Virgin,  with  the  Infant  Christ  and  St.  John  ;  after 

Ann.  Carracci. 
The  Annunciation  ;  after  Courtois. 
The  Resurrection  ;  after  N.  Loir. 
St.  John  the  Baptist  before  Herod  ;  after  Le  Brun, 
The  Adoration  of  the  Magi ;  after  Poussin. 
The  Assumption  of  the  Virgin  ;  after  J.  Miel. 
The  Holy  Family  ;  after  Jacques  Stella. 
The  Crucifixion  ;  after  the  same. 

Vallet's  son,  Jerome,  who  became  a  member  of  the 
Academy  in  1702,  engraved  sixteen  phites  iVom  the 
bas-reliefs  of  'The  Pillars  of  Theodosius  in  Con- 
stantinople,' after  draivings  by  Gentile  Bellini. 

VALLET,  Pierre,  designer  and  engraver,  was 
bom  at  Orleans  about  the  year  1575.  He  bore  the 
title  of  'Brodeur  ordinaire  du  Roi'  to  Henry  IV.  of 
France,  and  was  living  in  1655.  He  is  noted  by 
Dumesnil  as  the  engraver  of  the  one  hundred  and 
twenty-four  prints  in  '  Les  Aventures  araoureuses 
de  Th^agene  et  Charicl^e,'  published  in  1613  ;  of  a 
Plan  of  the  City  of  Paris,  after  Frangois  Quesnel ; 
of  '  Earth  and  Fire,'  after  Toussaint  Dubrenil ;  and 
of  the  one  hundred  plates  of  flowers  in  '  Le  Jardin 
du  Roy  tres  Chrestien  Henry  IV.,  Roy  de  France 
et  de  Navare.  Dedi^  a  la  Reyne,'  published  in 
1608.  This  edition  has  the  portrait  of  the  artist 
with  his  name  and  the  date.  He  continued  to  work 
for  Louis  XIII.  Nothing  further  is  recorded  of  Pierre 
Vallet,  except  that  he  was  connected  in  some  other 
work  with  two  artists,  P.  Fatoure,  and  Gabriello 
GiovANE,  or  Gabriel  lb  Jeune,  who  flourished  in 
Paris  in  1609. 

VALLIN,  Jacques  Antoine,  a  French  painter  of 
whose  life  no  details  are  forthcoming.  He  was  a 
frequent  exhibitor  at  the  Salon  between  1791  and 
1827,  and  his  pictures  are  to  be  met  with  in  private 
collections  in  France.  His  subjects  were  taken 
from  classic  literature. 

VALLORY,  Theodore,  Chevalier,  a  French 
amateur  engravpr,  flourished  about  the  year  1760. 
He  etched,  for  his  amusement,  several  small  land- 
scapes and  other  subjects,  after  Bouclier.  There 
was  also  a  Cavaliere  Antonio  Vallory,  an  Italian, 
who  practised  thirty  years  earlier. 

VALLOT,  Philippe  Joseph,  engraver,  born  at 
Vienna  in  1796,  of  French  parents,  was  a  pupil  of 
Ortemann.  He  engraved  a  few  plates  after  Gros 
and  Vernet,  among  tljem  'Napoleon  visiting  the 
Field  of  Eyiau,'  'The  Battle  of  the  Pyramids,'  and 
'The  Trumpeter's  Horse.'  He  executed  vignettes 
after  various  artists  for  the  works  of  Voltaire, 
Rousseau,  Rabelais,  Legouv^,  for  '  The  History  of 
Napoleon,'  '  Don  Quixote,'  and  for  the  Bible.  He 
died  in  Paris  in  1870. 

VALLOU  DE  VILLENEUVE,  Julien,  painter, 
engraver,  and  lithographer,  was  born  at  Boissy- 
Saint-L^ger  in  1795.  He  was  a  pupil  of  Garneray 
and  of  Millet,  and  exhibited  many  works  in  oil  and 
water-culours,  and  several  lithographs,  at  the  Salon, 
from  1824  onwards.  He  died  in  Paris,  May  4, 1866. 
VALOIS,  Jean  Francois,  a  Dutch  painter,  was 
born  at  Paramaribo  in  1778.  He  was  the  pupil  of  his 
father,  an  obscure  painter.  He  lived  at  the  Hague 
for  many  years,  and  gave  lessons  in  drawing.  He 
died  at  the  Hague,  December  7,  1853.  Works: 
Amsterdam.  E.  Museum.  View  of  a  Town. 
Rotterdam.  Museum.    A  Farmyard. 


VALPUESTA,  Pedro  de,  'El  licenciado,'  a 
Spanish  painter,  was  born  at  Osma,  in  Old  Castile, 
in  1614.  He  was  a  disciple  of  Eugenio  Caxes,  at 
Madrid,  and,  according  to  Palomino,  the  most  suc- 
cessful follower  of  bis  style.  He  became  a  priest, 
and  died  in  the  capital  in  1668.  His  principal 
works  are  in  the  churches  and  convents  at  Madrid. 
The  most  remarkable  are  :  a  series  of  pictures  from 
the  Life  of  the  Virgin,  in  the  church  of  San  Miguel  ; 
the  '  Holy  Family,  with  St.  Joachim  and  St.  Anne,' 
in  the  chapel  of  the  Hospital  del  Buensuceso ;  six 
pictures  representing  the  '  Life  of  St.  Clara,'  and 
scenes  from  the  Life  of  St.  Francis,  in  the  respec- 
tive convents  of  tliose  saints. 

VALTON,  Henri,  painter,  born  at  Troyes  about 
1810.  He  was  a  pupil  of  Couture,  and  exhibited 
portraits  and  historical  pictures  at  the  Salon  from 
1834  to  1857.  His  portrait  of  Dominique  Morlot, 
painter,  is  in  the  Troyes  Museum. 

VANAISE,  Gdstave,  Belgian  painter ;  bom  at 
Ghent  in  1854 ;  became  a  pupil  at  the  Ghent 
Academy,  being  also  taught  by  Canned  ;  historical 
and  genre  painter  ;  obtained  an  honourable  mention 
in  Paris  in  1883.  Among  his  works  we  may 
mention:  'Louis  XI.  and  Olivier  le  Daim,'  'Mag- 
dalen,' '  Girl  and  Mirror,'  and  '  Good  Samaritan.' 
After  travelling  in  various  parts  of  Europe,  he 
lived  in  Paris  for  some  j'ears,  sharing  a  studio  with 
Jan  van  Beers,  Lambeaux,  and  other  Belgian 
artists.  He  exhibited  at  the  Salon  regularly  for 
some  years.  He  eventually  returned  to  his  native 
country,  where  he  achieved  great  success,  and 
was  one  of  the  leading  artists  for  many  years. 
He  died  in  1901. 

VANASSEN,  Benedictds  Antonio,  a  designer 
and  engraver,  who  worked  in  England  towards  the 
end  of  the  18th  and  the  beginning  of  the  19th 
centuries.  His  works  occasionally  appeared  at 
the  Academy  between  1788  and  1804.  His  death 
is  supposed  to  have  taken  place  in  London  about 
1817.     Amongst  his  plates  are  : 

Portrait  of  Belzoni.     1804. 

Portrait  of  Mortimer,  R.A.     1810. 

Emblematic  Devices  in  forty-eight  plates.     1810. 

A  Sacrifice  to  Pomona  and  Ceres. 

VAN  AUDENAERDE,  Robert,  one  of  the  great 
masters  of  the  art  of  engraving,  was  born  at  Ghent, 
Bolj^ium,  in  1663,  and  died  there  in  1743.  He 
was  a  pupil  of  Mierhop  and  J.  van  Cleef,  and  studied 
painting  under  these  masters  with  great  industry, 
until  in  1685  he  went  to  Rome,  in  order  to  perfect 
himself  in  the  painter's  art.  Here  he  sturiieil  with 
Carlo  Maratta,  who  soon  came  to  the  conclusion 
that  Van  Audenaerde  was  not  nearly  as  well 
qualified  to  be  a  painter  as  an  engraver,  as  the 
master  soon  recognized  his  extraordin.iry  gifts  for 
the  engraver's  art.  On  a  former  occasion  Maratta 
had  in  a  similar  manner  turned  the  attention  of 
J.  Frey  from  painting  to  engraving,  and  he  now 
advised  Van  Audenaerde  to  devote  himself  to  the 
needle  instead  of  the  brush,  and  always  regarded 
him  as  his  favourite  engraver.  Both  his  pupils, 
by  his  advice,  devoted  themselves  to  etching  and 
copying  historical  subjects.  Nevertheless,  Van 
Audenaerde  did  not  entirely  neglect  his  painting  ; 
while  taking  his  Roman  master  as  his  model,  he 
remained  faithful  in  the  brilliancy  of  his  colour  to 
the  art  as  he  had  learned  it  in  his  native  country. 
In  the  latter,  especially  at  Ghent,  his  best  paintings 
are  to  be  found.  His  principal  work  in  the  latter 
city  is  to  be  seen  in  the  church  of  the  Carthusian 
monks,  viz.  'The  Apparition  of  St.  Peter,  prevent- 

231 


A   BIOGRAPHICAL  DICTIONARY  OF 


ing  the  Monks  from  leaving  their  Monastery.'  Van 
Audenaerde  remained  at  Rome  seventeen  yeara, 
continuing  during  all  this  time  on  terms  of  close 
intimacy  with  Maratta.  Here  he  completed  the 
larger  number  of  his  plates,  which  are  all  free  and 
full  of  spirit,  among  the  best  being  those  after 
paintings  by  Maratta.  For  Cardinal  Barbari  he 
engraved  copies  of  a  large  number  of  medals, 
issued  from  the  ninth  century  to  the  middle  of  the 
eighteenth  to  the  different  generations  of  the  noble 
family  of  the  Barbari,  embellished  with  original 
symbolical  designs;  the  text  was  written  by 
Cardinal  Giovanni  Francesco  Barbari,  and  was 
translated  into  Latin  by  the  Jesuit  Giovanni 
Xavier  Valcavio  ;  the  first  part  was  published  at 
Padua  in  1732,  and  the  additional  pages  in  1760, 
the  entire  work,  entitled  'NumismataVirorum  Illus- 
trium  ex  Gente  Barbadica,'  being  undoubtedly 
one  of  the  greatest  monuments  of  family  pride  in 
existence,  and  tlie  engravings  a  veritable  "  tour  de 
force"  of  the  art.  There  are  in  all  eighty-five 
medals,  each  ornamented  with  most  beautiful 
symbolic  figures ;  each  initial  is  surrounded  by 
a  small  engraving,  about  one  and  a  half  inches 
square,  and  after  each  description  is  a  tail-piece  of 
an  additional  symbolic  figure,  making  a  total  of 
255  engravings,  all  executed  iu  the  highest 
type,  such  as  could  only  be  possible  to  a  man  of 
genius,  free  from  all  worldly  cares,  knowing  his 
wants  would  be  amply  provided  for,  so  that  his 
work  could  be  done  in  the  best  possible  manner. 
His  style  comprises  the  best  influence  of  the 
Italian,  Dutch,  and  Flemish,  and  iu  his  figures  one 
can  easily  trace  on  the  one  hand  how  onr  artist  pro- 
fited by  his  study  of  Raphael  and  Michelangelo, 
and  on  the  other  the  native  influence  of  Kubtns 
and  Rembrandt.  Brunet,  in  his  manual,  calls  it 
"ouvrage  magnifique,"aud  it  must  be  regarded  as 
the  culmination  of  the  art  of  engraving.  His  single 
plates  comprise  numerous  iiortraits  of  cardinals, 
copies  of  paintings  by  different  Italian  masters, 
especially  Carlo  Maratta,  principally  religious 
subjects.  H.  H. 

VAN  BRAY,  Joseph  (or  Josephds  De  Bray, 
see  De  Bhay,  Jacob  and  Salomon).  This  artist  is 
known  to  have  died,  May  16,  1664,  of  the  plague 
at  Haarlem,  and  to  have  been  the  son  of  Salomon 
de  Bray.  He  is  believed  to  have  painted  interiors, 
and  to  liave  signed  them  Van  Bree  or  Van  Bray, 
but  writers  disagree  very  much  as  to  the  works 
attributed  to  him. 

VAN  BREE,  J.  Nothing  is  known  of  the  history 
of  this  painter,  save  that  a  fully  signed  and  dated 
(1675)  picture  of  still-life  appeared  in  a  sale  in 
Amsterdam  in  1889,  and  that  other  works  so 
signed  are  in  various  private  galleries  in  the 
Hague  and  Rotterdam. 

VANDAEL.     See  Dael,  van. 

VANDECAPPELLE,JoHN,notVANDERCArELLE, 
born  in  1624  or  1625,  son  of  Francis,  a  dyer,  and 
Anne  Mariens.  He  married  Anne,  daughter  of 
John  van  Serhuy.sen,  before  September  12,  1653, 
and  died  September  22,  1679,  leaving  four  sons 
and  three  daughters,  and  a  considerable  fortune 
gained  chiefly  as  a  dyer.  He  had  a  collection  of 
196  paintings  and  a  very  large  number  of  drawings. 
HewashiTMself  one  of  the  '/est  seventeenth-century 
painters  of  sea-pieces,  and  also  executed  several 
excellent  winter  landscapes. 


Amsterdam. 


232 


Museum,  A  Calm  Sea  with  Shipping 
and  a  few  Sunlit  Clouds. 
1G56. 


Berlin.  Gallery. 

„  Baron  von  ] 

Car.^tavjen.  J 
Iiondon.  Nat.  Gall. 


„  Brid(feivafer 

Gallery. 
„  C.  T.  D.  Crews, 

Esq. 

„         Hon.  W.  Massey 
Mahnonriiiif 

„  Mr.<.  Bischop- 

heim. 

„  Earl  of  North- 

brook. 

ti  ,. 

„  Lady  Wantage. 

Eichmond.  Sir  F.  Cook. 
St.Petetshnrg. Hermitage. 
Stockholm.  Museum. 


A  Calm  Sea. 
A  Calm. 

A  Coast  Scene ;  calm ;  mid- 
day (signed). 

Kiver  Scene  with  a  Fortified 
Town.     1650  (sii/ned). 

River  Scene  with  a  Ferry  Boat. 

River  Scene.    1660. 

[  River  Scene  with  Boats. 

)  Sea-piece ;    view    along    the 
)      coast ;  cloudy  sky. 

Landscape  ;  Winter  Scene. 
")  Harbour  of  Amsterdam,  with 
V     aMan-of-Ayar,aStateBarge, 
J      and  Boats. 


Boats  in  a  Calm. 


I 

[  Mouth  of  the  Brill  (signed), 

A  Quiet  Sea  with  Boats. 
River  Scene  (signed). 
Sea-piece  ;  calm  ;  morning. 
Winter  Landscape. 
Mouth  of  a  River  (signed). 
Harbour    with    Ships.    1649 
(signed). 


Authority:  Bredius,  in  '  Oud  Holland,'  X.,  1892. 

Capelle,  John.  Haarlem,  1686  ;  no  relation 
of  tlie  above.  W.H.J.W, 

VANDELAR,  Jean,  a  French  illuminator  of  the 
14th  century,  who  worked  in  Paris.  In  1372  he 
was  employed  by  the  king,  Charles  V. 

VAN  DE  LAAR,  Jan  Hendrik,  a  Dutch  painter, 
born  at  Rotterdam  in  1807.  He  was  a  pupil  of  G. 
Wappers  at  Amsterdam,  and  worked  alternately  at 
Rotterdam,  the  Hague,  and  Antwerp.  He  became 
a  member  of  the  Academy  of  Amsterdam  in  1852, 
and  was  Prof essor  of  the  Rotterdam  Academy.  He 
died  at  Rotterdam,  May  15,  1874.  There  is  a  pic- 
ture by  him  in  the  Museum  of  that  city.  His  brother 
Bernhard  born  at  Rotterdam  iu  1804,  was  chiefly 
known  as  a  painter  of  church  interiors. 

VAN  DE  PASS,  Crispin,  the  elder,  (Van  db 
Passe,  De  Passe,  De  Pas,  or  Pass^us,)  an  eminent 
draughtsman  and  engraver,  was  born  at  Armuyden 
in  the  province  of  Zealand,  about  the  year  1560. 
He  was  instructed  in  engraving  by  Cuerenhert, 
and  worked  successively  at  Cologne,  Utrecht,  and 
Amsterdam.  His  talents  recommended  him  to  the 
notice  of  Prince  Maurice,  who  sent  him  to  Paris, 
where  he  taught  drawing  in  the  academy  of  M. 
Pluvinel,  riding-master  to  Louis  XIII.,  on  which 
occasion  either  he  or  his  son  Crispin  tlie  younger 
(see  below)  published  in  1629  the  celebrated  set  of 
sixty  prints,  entitled  'Instruction  du  Roi  en  I'exer- 
cise  de  monter  i  cheval,  par  Messire  Antoine  de 
Pluvinel.'  In  these  are  introduced  the  portraits  of 
Louis  XIII.,  the  Due  de  Bellegarde,  and  many 
other  great  personages  of  the  court.  From  Paris 
he  came  to  England,  at  what  date  is  not  certain ; 
but  as  none  of  his  English  prints  are  dated  later 
than  1635,  it  is  probable  that  he  quitted  this  country 
about  that  year.  He  published  a  drawing-book  in 
1643  at  Amsterdam,  in  Italian,  French,  and  Dutch, 
entitled  '  Delia  Luce  del  dipiugere  e  disegnare,'  in 
the  preface  to  which  he  mentions  his  intimacy  with 
the  most  celebrated  masters  of  the  time.  Freminet, 
Rubens,  A.  Bloemart,  P.  Moreeize,  and  P.  Van  der 
Berg,  were  among  his  friends.  Another  work  of 
his  in  four  languages  was  '  The  Functions  of  the 
Human  Body,'  illustrated  with  engravings.  The 
date  of  this  publication  makes  him  an  octogenarian, 
and  after  that  he  disappears.    The  plates  of  Crispin 


PAINTERS  AND  ENGRAVERS. 


van  de  Pass  are  neatly  executed  with  the  graver. 
Many  were  designed  from  life,  and  the  greater  part 
of  his  subject  plates  are  engraved  from  his  own 
compositions.  He  succeeded  best  in  figures  of  a 
small  size,  for  he  undertook  too  many  engagements 
to  devote  sufBcient  time  to  the  larger  ones.  He 
usually  marked  his  plates  with  a  cipher  com- 
posed of  an  S.  a  V.  and  a  P.  joined  together. 
He  was  a  man  of  letters,  and  a  'patron.'  This 
appears  from  the  fact  that  Holland's  '  Herijologia 
Anglica  '  is  expressly  stated  to  be  published,  '  Im- 
pensis  Crispini  Passe.'  This  work,  published  in 
1620,  contained  thirty-five  portraits  of  English 
statesmen,  and  thirty  of  divines  and  martyrs  of  the 
Protestant  faith.  These  were  probably  engraved 
under  commission  from  Van  de  Pass.  The  follow- 
ing is  a  list  of  his  better  prints  : 

PORTRAITS. 

Queen  Elizabeth,  with  the  Crown,  Sceptre,  and  Globe ; 
after  Isaac  Oliver. 

A  Head  of  the  same  Queen. 

James  I.  with  the  Sceptre  in  his  hand. 

James  I.  with  a  Hat  and  Ruff. 

Anne  of  Denmark,  his  consort. 

Henry,  Prince  of  "Wales. 

Charles,  his  brother,  afterwards  Charles  I. 

Frederick,  Count  Palatine  of  the  Rhine. 

Princess  Elizabeth,  his  wife. 

Sir  Philip  Sidney. 

The  Earl  of  Essex,  on  horseback. 

Thomas  Percy,  the  conspirator. 

Henry  IV".,  King  of  France. 

Marie  de'  Medicis,  his  Queen. 

Philip  II.,  King  of  Spain. 

Christian  I"V".  of  Denmark. 

Heinrich  Friedrich,  Priuce  of  Nassau. 

Albert,  Archduke  of  Austria,  and  Maurice,  Prince  of 
Nassau,  on  horseback. 

Louisa  Juliana,  Countess  of  Nassau. 

"William  Perkins  ;  for  the  '  Heroologia.' 

Admiral  Andrea  Doria. 

Adolphus,  Baron  Schwartzenberg. 

Alexander  Farnese  II. 

'  Speculum   illustrium  feminarum.'    A  set  of  fourteen 
Portraits  of  "Women,  with  a  frontispiece. 

Adam  and  Eve  ;  after  a  design  by  himself. 

Susannah  and  the  Elders  ;  ditto. 

Three  small  circular  plates.  Faith,  Hope,  and  Charity ; 
ditto. 

Cleopatra  ;  ditto. 

Hercules  strangling  Antseus  ;  ditto. 

The  Inside  of  a  Tavern,  with  Men  and  "Women  quarrel- 
ling ;  C.  van  Pass  inv.     1589. 

The  Seven  Liberal  Arts ;  ditto. 

The  Nine  Muses  ;  ditto. 

Thirteen  Scenes  from  the  Life  of  Christ ;  ditto. 

Nineteen  from  Christ's  Passion  ;  ditto. 

A  set  of  two  hundred  emblems  for  George  "Wither. 

The  History  of  Tobit,  in  six  plates  ;  after  M.  de  Vos. 

The  Twelve  Months,  in  twelve  circular  plates  ;  after  the 
same. 

Tlie  Four  EvangeUsts,  in  four  plates;    after  Gortzius 
Geldorp. 

The  Angels  appearing  to  the  Shepherds  ;  after  A.  Bloe- 
maert. 

The  Crucifixion  ;  after  Jod.  de  Winyhe. 

The  Judgment  of  Paris  ;  after  C.  Van  den  Broeck. 

The  Siege  of  Troy ;  after  the  sajne. 

A  set  of  four  Landscapes,  with  figures ;  after  J.  Brueghel. 
VAN  DE  PASS,  Crispin,  the  younger,  the  eldest 
son  of  the  elder  artist  of  the  name,  was  born  at 
Utrecht  in  1585,  and  was  instructed  by  his  father. 
There  is  some  confusion  between  the  younger  and 
the  elder  Crispin,  and  it  is  now  suspected  that  the 
sixty  plates  in  Pluvinel's  'Horsemanship,'  cited 
under  the  elder  artist,  were  really  executed  by  the 
son.  Crispin  the  younger  flourished  up  till  at  least 
1645,  and  Zani  says  as  late  as  1659 :  he  quotes  an 
inscription,  Avec  privilege  du  Ray  1659.     C  de 


Pas.  inven.  et  fecit — Crisp.  Passeus  Junior  Sculp- 
cit.  We  have  also  the  following  engravings  by 
the  younger  Crispin : 

Frederick,  Elector  Palatine ;  inscribed,  Crispin  Boiseut, 

Jan.  jig.  et  sculps. 
Johannes  Angelius  "Werdenhagen ;  C.  de  PasseJ>lius,fec. 

1600. 
Pope  Paul  V. ;    Crispinus  Passaeus  senior  inv.  et  exc, 

junior  sculp,  aetatis  17. 
Three  out  of  a  set  of  four  scenes  from  the  Parable  of 

the  Rich  Man  and  Lazarus ;  the  fourth  was  engraved 

by  Crispin,  senior. 

VAN  DE  PASS,  Magdalena,  who  was  born  at 
"Dtrecht  about  1583,  was  the  daughter  of  the  elder 
Crispin  van  de  Pass,  and  learni_'d  the  art  of  engrav- 
ing from  her  father.  She  worked  for  a  time  in 
England,  and  also  in  Germany  and  Denmark.  The 
date  of  her  death  is  not  known.  She  executed  some 
small  plates  in  imitation  of  tbe  style  of  Count  Goudt, 
and  also  engraved  a  few  portraits.     She  sometimes 

used  the  cipher    j{j .     Among  others,  we  have  the 

following  prints  by  her. 

Her  own  Portrait  (bust). 

Catherine,  Duchess  of  Buckingham,  with  a  feather    n 

her  hand. 
The  "Wise  and  the  Foolish  "Virgins ;  after  Elsheimer. 
The  Four  Seasons  ;  after  Crispin  fan  de  Pass,  senior. 
Cephalus  and  Procris. 
Salmacis  and  Hermaphroditus.     1623. 
Latona  changing  the  Lycian  Peasants  into  Frogs. 
Alplieus  and  Arethusa.     1623. 
A  pair  of  Landscapes  ;  after  Foelandt  Savery. 
A  pair,  one  a  Storm  with  a  Shipwreck,  and  the  other  a 

Landscape  with  a  Windmill ;  after  A.  Willeres. 

VAN  DE  PASS,  Simon,  the  elder,  born  at 
Utrecht  in  1591,  was  the  youngest  son  and  pupil 
of  Crispin  Van  de  Pass  the  elder.  He  resided  about 
ten  years  in  England,  where  he  engraved  several 
fine  portraits,  the  earliest  of  which  is  dated  1613. 
On  leaving  this  country  he  entered  the  service  of 
the  King  of  Denmark.  He  died  at  Copenhagen 
in  or  soon  after  1644.  He  was  employed  by 
Nicholas  Hilliard  to  engrave  counters  of  the  Eng- 
lish Royal  Family.  Of  his  numerous  prints,  his 
portraits  are  the  best,  although  he  engraved  several 
sacred  subjects,  frontispieces,  and  other  plates  for 
books.     He  sometimes  marked  his  plates  with  the 

cipher   J^«     The  following  are  his  most  esteemed 

prints : 

Queen  Elizabeth  ;  whole  length. 

James  I.  crowned,  sitting  in  a  chair. 

The  same,  with  a  hat. 

Charles  I.  when  Prince  Charles. 

Anne,  Queen  of  James  I.,  on  horseback,  with  a  "View  of 

"Windsor.     1617. 
Prince  Henry  with  a  Lance. 

Philip  III.,  King  of  Spain.  _  ,   ,  ^  .:,       . 

Maria  of  Austria,  his  daughter,  the  intended  bnde  of 

Charles  I. 
Another  portrait  of  the  same  lady. 
General  Edward  Cecil,  son  of  the  Earl  of  Exeter. 
George  Villiers,  Duke  of  Buckingham.     Two  portr^'» 

one  dated  lt;17,  the  other  1620. 
Launcelot  Andrews,  Bishop  of  Ely.     1613. 
William  Burton,  Physician.     1620. 
Robert  Carr,  Earl  of  Somerset. 
Frances  Howard,  Countess  of  Somerset. 
Francis  Manners,  Earl  of  Rutland. 
James  Hay,  Lord  Saley,  afterwards  Earl  of  Carlisle. 
Thomas,  Earl  of  Arundel ;  after  Mierevelt. 
Sir  Walter  Raleigh. 
John  King,  Bishop  of  London. 
Sir  Thomas  Smith,  Ambassador  to  Russia. 
William,  Earl  of  Pembroke  ;  after  Van  Somtr. 
Richard,  Earl  of  Dorset. 


A  BIOGRAPHICAL  DICTIONARY  OF 


Archbishop  Abbot,  with  a  View  of  Lambeth. 

Kobert  Sidney,  Viscount  Lisle. 

Charles,  Earl  of  Nottingham. 

Mary  Sidney,  Countess  of  Pembroke. 

Henry  Wriothesly,  Earl  of  Southampton. 

Edward  Somerset,  Earl  of  Worcester. 

Count  Gondomar,  Spanish  Ambassador  to  the  English 
Court. 

Frederick  Henry,  Prince  of  Orange,  inscribed  Liberum 
Belyitun. 

Large  Head  of  Christian  IV.  of  Denmark. 

Sir  Thomas  Overbury. 

Captain  John  Smith. 

Four  whole  leugth  Portraits  of  Dnkes  of  Burgundy- 
John  the  Intrepid  Philip  the  Bold,  Philip  the  Good, 
and  Charles  the  Kash  ;  etchings. 

The  Holv  Family. 

Christ  with  the  Disciples  at  Emmaus. 

VAN  DE  PASS,  Simon,  the  younger,  was  a  son 
of  Crispin  van  de  Pass  the  younger.  He  resided 
at  Copeiiliagen,  probably  with  his  uncle  Simon. 
All  that  is  known  about  him  is  that  he  engraved  a 
portrait  of  Frederick  III.  of  Denmark  ;  an  '  Ecce 
Home '  (1639),  and  a '  Woman  with  three  Children  ' 
(1643). 

VAN  DE  PASS,  WiLLEM,  was  the  second  son 
of  Crispin  van  de  Pass  the  elder.  He  was  born 
at  Utreclit  about  tlie  year  1590,  and  was  also  in- 
structed by  his  fatlier.  It  is  probable  that  he 
came  with  the  latter  to  England,  and  there  re- 
sided the  greater  part  of  his  life.  The  date  of 
his  death  is  not  known,  but  if  he  engraved  Crom- 
well's portrait,  as  Nagler  states,  it  is  probable  that 
he  lived  till  about  1660.  His  most  esteemed  works 
are  his  portraits, many  of  which  are  very  scarce.  He 
also  engraved  some  devotional  and  other  subjects. 
He  sometimes  marked  his  plates  with  the  cipher 

■vB" .      The  following  are  his  principal  works  : 

James  I.  and  his  Family,  inscribed  Triumphus  Jacohi 

Metfis  AutfustiBque  ipsms  piolis. 

James  I.  with  Henry,  Prince  of  Wales.   j\fter  the  death 

of  that  prince  the  face  was  erased,  and  that  of  Charles 

his  brother  substituted  in  its  place. 

Robert  Dudley,  Earl  of  Leicester  ;  oval,  with  the  cipher. 

George  Villiers,  Duke  of  Buckingham,  on  horseback, 

with  shipping  in  the  background. 
Robert  Devereux,  Earl  of  Essex,  on  horseback. 
Frances,  Duchess  of  Richmond  ;ind  Leuo.x  ;  a  very  care- 
ful   plate,  inscribed   Anno   1625,    insculptum   Guliel. 
Passeo  Londinum. 
Christian  IV.  of  Denmark  and  Frederick  of  Holstein, 

in  a  group. 
George  Chapman,  the  poet. 
Sir  Jolm  Haywood,  IF.  Pass  f. 
Sir  Henry  Rich ;  very  fine, 
Darcy  Wentworth.     1624. 

The  King  and  Queen  of  Bohemia,  with  four  of  their 
children,  inscribed  Jl'ill  Pass  fecit,  ad  vivum  figura- 
tor.     1621. 
The  Palatine  Family,  in  which  the  youngest  child  is 
playing  with  a  rabbit ;  without  the  engraver's  name. 
VAN  DE  PERE,  Anton,  a  Fleming,  flourished 
at  Mailritl  about  the  middle  of  tlie  17th  century. 
He  painted  pictures  of  two  bishops  for  the  Car- 
thusians  of   Paular,   and   for  the  Carmelites  and 
Hieronymites   of  the  capital  a  number  of  sacred 
subjects,  one  of  which  bore  his  signature  and  the 
date  1659. 

VAN  DE  VELDE,  Adriaen,  painter,  the  son  of 
Willera  Van  de  Velde  tlie  elder,  was  born  at 
Amsterdam  in  1635  or  1636.  He  was  at  first 
instructed  by  his  father,  showing  a  precocious 
talent  for  painting,  but  as  his  bent  seemed  rather 
towards  landscape  and  figures  than  marine  subjects, 
he  was  sent  to  Haarlem,  where  he  entered  the 
atelier  of  J.  Wynants,  and  afterwards  studied  the 
234 


figure  under  Philips  Wouwerman.  He  painted 
genre  and  battle-pieces  with  success,  but  especially 
excelled  in  landscapes  with  animals,  and  was  much 
emjiloyed  by  contemporary  painters  to  insert  figures 
in  their  pictures.  Among  those  whom  lie  thus 
assisted  were  Hobbema,  Van  der  Heyden,  Hakkert, 
Wynants,  Verboom,  and  Moucheron.  His  works 
are  numerous,  taking  into  account  their  high  finish 
and  the  shortness  of  the  painter's  life.  They 
amount  to  about  187,  but  many  have  darkened 
through  his  use  of  inferior  pigments.  He  died  at 
Amsterdam,  January,  21st,  1672.  The  following 
pictures  by  him  may  be  named : 


Amsterdam. 

Rijks 
Museum. 

\  The  Ferry. 

1) 

1' 

The  Hut. 
Landscape. 

» 

The  Artist  and  his  Family  in  the 
Country. 

)i 

)* 

The  Hunt. 

»» 

»» 

T-andscape  with  Cattle. 

Antwerp. 

»» 

Landscape    with    Figures  aud 
Cattle. 

Berlin. 

»» 

Woody  Landscape  with  Figures 
and  Cattle  {signed  and  dated 
1668). 

5» 

Pasturing     Cows    (signed    and 

dated  1658). 
River  Landscape. 

Cassel. 

Coast  of  Scheveningen. 

Dresden. 

Gallery. 

Two  Landscapes. 
And  four  others. 

Dulwich. 

„ 

Cows  and  Sheep  in  a  Wood. 

Edinburgh. 

Kat.  Gal. 

Landscape  with  Figures,  Cattle, 
and  Herdsmen. 

Hague. 

Museum. 

Cattle. 
Dutch  Beach. 

London. 

Nat!  Gal. 

The  Farm  Cottage. 

j^ 

^^ 

The  Ford. 

jj 

,^ 

Frost  Scene. 

jj 

„ 

Forest  Scene. 

J, 

»» 

Landscape  and  Cattle. 

)) 

)» 

A  Bay  Hor.se   with   a   Cow,  a 
Goat,  aud  Sheep. 

„       Buckingham  Pal, 

Landscape     with     a     Hunting 

Party. 

j> 

j> 

A     Woody     Landscape      with 
Animals. 

)) 

n 

Landscape   with   Cattle   uuder 
Trees. 

»i 

1, 

The  Coast  at  Scheveningen. 

Munich. 

Pinacothek. 

Herdsmen  with  Cattle. 

J) 

»» 

An     Idyllic    Landscape     with 
Figures. 

And  three  others. 

Paris 

Louvre. 

The  Prince  of  Orange  and  his 
suite  driving  at  Scheveningen. 

»» 

,, 

The  Shepherd's  Family. 

1) 

Frozen     Canal     with     people 

Skating. 
Three  Landscapes  with  Cattle. 

Petersburg. 

Hermitage. 

The  Herd. 

Vienna. 

Gallery. 

Two  Landscapes  with  Cattle. 

Adriaen  Van  de  Velde  was  an  etcher.  Bartsch 
enumerates  twenty-one  plates  by  him,  chiefly  land- 
scapes with  cattle.  Five  are  dated  1653,  when 
Adriaen  was  only  fourteen  years  old,  ten  are  dated 
1657,  1659,  and  six  1670.  To  these  Immerzeel 
adds  three  landscapes  with  figures,  and  one  plate 
of  a  cow  lying  in  a  field. 

VAN  DE  VELDE,  Esaias,  a  Dutch  painter  of 
'  conversations,'  cavalry  skirmishes,  and  especially 
winter  landscapes  with  skaters,  was  born  at 
Amsterdam,  in  what  precise  year  is  unknown,  but 
probably  not  much  before  1590.  In  what  degree 
he  was  related  to  William  Van  de  Velde  the  elder 
is  another  debatable  point.  Kramm  suggests 
that  tiiey  were  father  and  son.     Nothing,  however. 


PAINTERS  AND  ENGRAVERS. 


baa  come  to  light  in  confirmation  of  this  hypothesis. 
The  known  facts  of  his  hfe  are  very  scanty.  We 
find  hira  established  at  Haarlem  in  1610,  and  in  the 
following  year  he  there  married  Catelijne  Maertens, 
a  native  of  Ghent.  In  1612  he  was  admitted  into 
the  Guild  of  St.  Luke  at  Haarlem,  and  in  1618  ho 
was  employed  by  the  Prince  of  Orange  at  the 
Hague,  where  in  1628  his  name  was  inscribed  in 
the  registers  of  the  Painters'  Guild.  Two  years 
later  he  was  working  in  Leyden,  but  his  burial  is 
recorded  to  have  taken  place  at  the  Hague, 
November  18th,  1630.  Like  Adriaen,  he  was  often 
employed  by  landscape  painters  to  insert  figures  in 
their  pictures.  With  Avercamp,  Dirk  Hals,  and 
Adriaen  van  der  Venne,  Esaias  Van  de  Velde  may 
be  looked  upon  as  the  founder  of  Dutch  genre 
He  was  also  an  etcher.     Works : 


paintmg. 
Amsterdam. 


Berlin. 

Museum. 

Brunswick. 

Dresden. 

Glasgow. 

Hague. 

Hamburg. 

Gallery. 

Museum. 
Kunsthalle. 

Munich. 

Rotterdam. 

Vienna. 

Pinacothek. 

Museum. 

Gallery. 

Rijks  \  Belling  the  Cat.     (A  Satire  on 
Museum,  i      the    reliyious    differences    of 
1618-19.) 
„  Spauish  Troops  evacuating  Bois- 

le-Duc.     1629. 
„  'Winter  Pastimes. 

Dutch  Landscape. 
A  Dutch  Fortress  by  a  Canal. 
Cavalry  Skirmish. 
Two  Skirmishes. 
Skirmish  with  Bandits.     1624. 
A  Company  at  Dinner.     1614. 
Landscape  with  Animals. 
"Winter  Landscape. 
Skating  Party  in  a  Moat. 
Skirmish. 
A  Skirmish  of  Cavalry. 


VAN  DE  VELDE,  Jan.  Much  uncertainty  pre- 
vails as  to  the  identity  of  various  painters  of  this 
name.  One  Jan  van  de  Velde  was  painting  still- 
life  at  Haarlem  about  the  middle  of  the  17th  century. 
There  is  an  example  of  his  work  in  the  Brussels 
Museum,  signed  witli  his  name  in  full  and  the  date 

1655.  Another,  of  very  fine  quality,  is  in  the 
National  Gallery.     It  is  also  fully  signed,  and  dated 

1656.  Another  (?)  Jan  van  de  Velde,  a  painter 
of  landscapes  and  cattle,  and  an  engraver,  was 
Vinder  of  the  Guild  of  St.  Luke  at  Haarlem  in  1635. 
It  has  been  suggested  that  lie  was  the  brother  of 
Esaias,  to  one  of  whose  children  he  stood  sponsor 
in  1619.  He  engraved  chiefly  after  M.  Molyn  and 
Adam  Elzheimer.  Nagler  mentions  a  Jan  van 
de  Velde  the  younger,  as  a  painter  and  draughts- 
man. 

VAN  DE  VELDE,  Nicolas,  an  obscure  Flemish 
painter,  who  worked  at  Ypres  in  the  17th  century. 
The  ^glise  St.  Berlin  at  Poperinghe  lias  a  'Last 
Supper'  by  hira,  and  Descamps  speaks  of  a  'St. 
Martin '  in  the  church  of  that  saint  at  Ypres,  but 
this  picture  has  now  disappeared. 

VAN  DE  VELDE,  Pieteb  (Champaiqne).  See 
De  Kempeneer,  Pieter. 

VAN  DE  VELDE,  Willem,  the  elder,  was  born 
at  Leyden  in  1610,  and  in  early  life  was  a  sailor. 
Before  he  was  twenty  years  of  age  he  had  acquired 
a  reputation  as  a  painter  of  marine  subjects  in 
black  and  white,  in  imitation  of  drawings  in  Indian 
ink.  His  talents  recommended  him  to  the  States 
of  Holland,  and  a  small  vessel  was  put  at  his  dis- 
posal to  witness  the  sea-fights.  King  Charles  II. 
invited  him  to  England,  where  he  arrived  in  1675. 
He  received  a  pension  from  Charles,  which  James 
II.  continued  until  his  death  in  1693.  He  was 
buried  in  St.  James's  Church,  Piccadilly,  with 
the  following  inscription  on  his  tombstone : 
"  Mr.  William  van  de  Velde,  senior,  late  painter  of 


sea-fights  to  their  Majesties  King  Charles  II.  and 
King  James  II.,  died  in  1693."  Many  of  the 
large  sea-fights  signed  W.  van  de  Velde  are  painted 
by  the  son,  from  designs  by  the  father ;  the  more 
coarsely  executed  are  probably  entirely  by  the 
former.  Such  are  the  twelve  naval  engagements, 
in  the  palace  at  Hampton  Court.  These  are  dated 
1676  and  1682. 

VAN  DE  VELDE,  Willem,  the  younger,  the 
son  and  pupil  of  Willem  van  de  Velde,  and  the 
best  known  of  the  Dutch  marine  painters,  was 
born  at  Amsterdam  in  1633,  and  studied  also  under 
Simon  de  Vlieger.  After  gaining  a  certain  reputa- 
tion in  Holland  he  went  with  his  father  to  London  ; 
and  in  1674  Charles  II.  granted  liim  a  salary  of 
£100  for  painting  sea-fights  for  which  his  father 
made  the  drawings.  The  pension,  like  that  of 
equal  amount  granted  to  his  father,  was  continued 
by  James  II.  Van  de  Velde  died  in  London, 
April  6th,  1707,  and  was  buried  by  his  father  in  St. 
James's  Churcli,  Piccadilly.  Three  hundred  and 
twenty-nine  pictures  by  him  are  described  in 
'  Smith's  Catalogue  raisonn^.'  The  great  majority 
of  them  are  in  English  private  collections.  His 
drawings  are  astonishingly  numerous.  It  is  said 
that  between  1778  and  1780  there  were  about  eight 
thousand  sold  at  public  auction.  It  is  also  re- 
corded that  his  execution  was  so  rapid  that  he 
frequently  filled  a  quire  of  paper  with  sketches  in 
an  evening.  Many  of  his  larger  pictures  represent 
actions  between  the  English  and  Dutch  fleets.  On 
these  he  often  wrote  over  the  ships  their  names, 
and  those  of  their  commanders,  and  under  his 
own  vessel  in  front,  "V.  Velde's  Gallijodt,"  or 
"  Mijn  Gallijodt,"  showing  that  he  had  been  a 
spectator  of  the  battle.  His  sketches  are  executed 
in  bhick-lead ;  his  more  finished  drawings  with 
pencil  and  pen,  shaded  with  Indian  ink.  Among 
his  works  are  the  following  : 


Amsterdam.       Museum. 


The  Four  Days'  Battle  between 
the  Dutch  and  English. 

Bringing  in  the  prizes  from  the 
Four  Days'  Battle. 

The  Cannon  Shot  {veryjine). 

The  Y,  before  Amsterdam. 

A  Calm. 

A  Harbour. 

Near  the  Coast  {very  fine). 


" 

>» 

A  Storm  Undfour  others). 
The  Beach. 

Berlin! 

l^ 

Two  Pictures. 

Cassel. 

Gallery. 

Sea-piece.     1653. 

Coast  Scene. 

Dresden. 

}> 

Vessels  at  Sea. 

Dulwich. 

)} 

A  Calm. 

A  Brisk  Gale. 

Edinburgh.  Nat  Gattery. 

Fishing-boats  in  a  Calm. 

Glasgow. 

Gallery. 

Sea-piece  with  Fishing-boats, 

&c. 
The  Evening  Gim. 

*t 

j> 

Sea-piece     with     Men-of-war 
saluting. 

,1 

1) 

The  Approaching  Squall. 

Hague. 

Museum. 

A  Calm. 

LiUe. 

A  Calm  Sea. 

London. 

Bridyewater 

\  A    Dutch    Packet    in    stormy 
J      weather  ( veryjine  and  import  - 

House. 

ant). 

A  View  on  the  Texel. 

" 

A  Calm. 

i» 

" 
" 

Entrance  to  the  Bril. 

" 

" 

The  Rising  of  the  Gale. 

Surrender  of  the '  Royal  Prince.' 

" 

Nat.  Gallery. 

A  Calm  at  Sea. 

A  Fresh  Gale  at  Sea. 

» 

w 
*» 

Shipping  in  a  Calm.     1657. 
Coast  Scene— a  Calm.    1661. 

235 


A   BIOGRAPHICAL  DICTIONARY  OF 


TiOiidoJi.    .  Kat.  Gallery.    Shipping  off  the  Coast. 

„  „  Coast    of    Scheveningen     {the 

Jujures   are  by   Adriaen    Van 
de  I'elde). 
„  „  A  Calm  at  Sea. 

„  „  A  Light  Breeze. 

„  „  A  Gale. 

„  „  Sea-piece. 

.,  „  Eiver  Scene. 

'„  ,.  Shippins. 

„  Dutch  Ships  of  War  saluting. 

„  „  A  Storm  at  Sea.    W.  Vander 

Velde  Lonbio.    1673. 
Wallace  Cull.     The  Morning  Gun  (a  very  large 
picture). 
Munich.  Gallery.     Two  Pictures. 

Paris.  Louvre.    A  Marine  piece. 

His  son,  CoRNELios  Van  de  Velde,  practised  in 
London  at  the  beginning  of  tlie  18th  century  as  a 
copyist,  and  reproduced  several  of  his  father's 
works. 

VAN  DEN  AVEELEN,  (or  Avelen,)  Jan,  a 
Dutch  engraver,  Wiis  born  about  the  middle  of 
the  17th  century,  and  resided  at  Leyden  about  the 
year  1696.  He  also  lived  much  in  Sweden.  He 
died  at  Stockholm  in  1727.  He  was  chiefly  em- 
ployed by  the  booksellers,  and,  among  other  plates, 
engraved  the  frontispiece  for  the  nineteenth  volume 
of  the  Thesaurus  Antiq.  Rom.,  published  by  Peter 
van  der  Aa  in  1698.  He  also  engraved  views  of 
Dutch  country  houses. 

VAN  DEN  BERG,  Jakobus  Everabdus,  a  Dutch 
historical  painter,  born  at  Rotterdam  in  1802,  was 
first  instructed  by  his  father,  Gtsbertds  Johannes, 
a  miniature  painter,  (born  1769,  died  1817,)  and 
later  by  Herreyns,  at  Antwerp.  He  travelled  in 
France  and  Italy,  and  was  very  successful  in  his 
genre.  Among  his  best  known  pictures  are  :  '  The 
Fair  Maid  of  Perth,'  Jan  van  SchafTelaar,  Claudius 
Civilus.     He  died  at  the  Hague,  July  20,  1861. 

VAN  DEN  BERG,  Matuias,  a  Flemish  painter, 
was  born  at  Ypres  in  1615.  His  father,  according 
to  Descamps,  had  the  management  of  Rubens' 
estates  in  the  neighbourhood  of  that  place,  and 
the  boy  was  brought  up  in  the  great  master's 
academy.  He  is  only  known  by  the  excellent 
copies  he  left  of  some  of  the  pictures  of  Rubens. 
Balkemasays  he  died  at  Alkinaar  in  1687;  Brulliot, 
following  Descamps,  that  he  died  at  Ypres  in  1647  ; 
and  Zani  places  his  death  in  1685. 

VAN  DEN  BERGEN,  Thierry  or  Dirck,  (or 
Berghen,)  a  painter  of  landscapes  and  cattle,  was 
born  at  Haarlem  about  1645.  He  was  probably 
brought  up  under  Adriaen  Van  de  Velde,  whose 
manner  he  imitated,  and  whose  ablest  disciple 
he  became.  He  settled  in  Loiid.m  in  167.S,  where 
he  painted  for  some  time,  but  he  died  in  his  native 
country  about  1689.  He  sometimeB  signed  his 
name  Berghen,  as  in  a  landscape  in  the  Louvre, 
where  there  is  also  one  signed  J).  V.  Bergen,  with 
the  date  1688.  The  Berlin  Museum,  the  galleries 
of  Vienna  and  Dresden,  the  Amsterdam  Gallery, 
and  other  collections  in  Holland  and  Germany, 
contain  good  specimens  of  his  art.  Not  a  few  of 
his  pictures  are  ascribed  to  Berchem  and  Adriaen 
Van  de  Velde. 

VANDENBERGHB,  Charles  Auqdste,  painter, 
the  son  of  Aiigustinus  Van  den  Berghe,  was  born 
at  Beauvais,  April  13,  1798.  He  entered  the  Ecole 
des  Beaux  Arts,  Paris,  in  1817,  and  was  the  pupil 
of  Girodet,  Gros,  and  Gu^rin.  He  exhibited  at 
the  Salon  from  1822  to  1853,  winning  a  medal  and 
the  Le- ion  of  Honour.  His  subjects  were  various, 
but  portraits  predominated.  The  Ministry  of  the 
236 


Interior,  Paris,  has  a  '  Holy  Family '  by  him.     He 
died  in  Paris,  December  17,  1853. 

VAN  DEN  BERGHE,  Aogdstinds,  an  excellent 
historical  and  portrait  painter,  was  born  at  Bruges 
in  1757,  and  studied  under  Gaeremyn  and  after- 
wards under  Suv6e  in  Paris.  Returning  to  Bruges 
in  1772,  he  obtained  the  first  prize  at  the  Academy 
at  Ghent  for  his  picture  of  '  CEdipus.'  In  1796 
he  returned  to  France,  and  settling  at  Beauvais, 
was  appointed  professor  at  the  Ecole  Centrale. 
He  afterwards  opened  a  private  academy  at  Beau- 
vais, where  he  died  about  1830.  Others  of  his 
paintings  are : 

The  Vision  of  St.  Anthony.     (In  the  church  of  Notre 

Dame  at  Bruges.) 
St.  Sebastian ;  after  Suvle.    (/n  the  Bruges  Hospital.) 

VAN  DEN  BERGHE,  Pieter,  was  a  native  of 
Amsterdam,  where,  as  well  as  at  Hamburg  and 
Paris,  he  worked  towards  the  end  of  the  17th  cen- 
tury. He  engraved  in  mezzotint  after  himself  and 
others.     Of  his  plates  we  may  mention : 

The  Elephant  and  the  Rhinoceros.     1686. 

The  Portrait   of    the   Princess  Friederike  Amalie  of 

Denmark. 
St.  Theresa ;  after  G.  D.  Lar. 

VAN  DEN  BOGAERDE,  Donatus,  a  Flemish 
painter  of  the  17th  century,  born  in  1644.  He 
became  a  monk  at  the  Abbaye  des  Dunes  at  Bruges, 
and  painted  several  large  landscapes  in  the  cloister 
of  his  monastery.  In  the  Bruges  Academy  there 
is  a  wooded  landscape  by  him. 

VAN  DEN  BOS,  Caspar,  a  Dutch  painter  of 
sea-pieces,  was  born  at  Hoorn  in  1634.  His  storms 
and  calms,  with  shipping,  are  not  without  merit. 
He  died  young  in  1666. 

VAN  DEN  BOSCH,  Jakob,  born  at  Amsterdam 
in  1636,  painted  battle-pieces,  and  died  in  1676. 

VAN  DEN  BOSCH,  Lodewtk,  a  flower  painter 
mentioned  by  Van  Mander,  who  was  active  early 
in  the  16tli  century. 

VAN  DEN  BOSSCHE,  Balthasar,  (or  Van  den 
Bosch,)  was  born  at  Antwerp  in  1681.  His  only 
instruction  was  from  an  obscure  artist,  one  Gerard 
Thomas,  whom  he  soon  surpassed.  He  is  said  to 
have  spent  three  years  in  France,  working  in  Paris, 
Douai,  and  Nantes.  He  became  a  master  in  the 
Guild  of  St.  Luke  in  1696.  He  excelled  in  painting 
the  interiors  of  saloons,  galleries,  painters'  and 
sculptors'  studios.  His  pictures  were  extremely 
popular,  and  fetched  large  prices.  He  also  painted 
small  portraits  with  success ;  the  Duke  of  Marl- 
borough, when  he  was  at  Antwerp,  had  his  picture 
painted  by  him.  He  represented  the  duke  on 
horseback  ;  and  in  order  that  the  work  might  be 
more  complete,  engaged  Peter  van  Bloemen  to 
paint  the  horse.  The  Wallraf  Museum  at  Cologne 
has  two  '  Studios'  by  him,  and  an  excellent  portrait- 
group  of  about  forty  persons  is  in  the  Antwerp 
Museum.     He  died  in  1715. 

VAN  DEN  BOSSCHE  DoMENicns,  painter,  was 
born  at  Granimont  in  1808.  He  painted  portraits 
and  history,  and  became  a  professor  at  the  Ghent 
Academy.     He  died  at  Ghent  in  1860. 

VAN  DEN  BRANUEN,  Jan,  painter,  was  bom 
at  the  Hague  towards  the  middle  of  the  17th  cen- 
tury. He  visited  England  in  1690,  and  died  there 
a  few  years  later.  He  painted  portraits  and 
genre. 

VAN  DEN  BROECK,  Barbara,  the  daughter  of 
Crispin  van  den  Broeck,  was  born  at  Antwerp  in 
1560    and    was  taught    drawing  by   her  father. 


PAINTERS  AND   ENGRAVERS. 


From  the  style  of  her  engraving  it  is  thought  slie 
was  instructed  in  that  art  in  the  school  of  CoUaert, 
who  engraved  some  plates  from  her  father's  designs. 
She  Worked  entirely  with  the  burin,  and  in  some 
of  her  plates,  particularly  in  that  of  the  '  Last 
Judgment,'  she  imitated  with  success  the  style  of 
Martin  Rota.  We  have  the  following  engravings 
by  her : 

The  Holy  Family,  with  Angels ;  marked  with  the 
cipher  of  her  Father,  aud  signed  B.Jilia  sc. 

Samson  and  Delilah  ;  Crispin,  inv.  ;  B.  fecit. 

The  Last  Judgment;  Barbara  Jilia  Crispini  sc;  II. 
Hond.  exc. 

Mandonia  prostrating  herself  before  Scipio ;  Barbara 
fee. 

Venus  and  Adonis;  B.fil.fec. 

VAN  DEN  BKOECK,  Crispin,  (or  Crispiaen,)  a 
Flemish  painter,  engraver,  and  architect,  was  born 
at  Mechlin  about  the  year  1530.  He  was  a  disciple 
of  Frans  Floris,  and  painted  history  with  some 
skill.  In  1565  he  was  received  into  the  Antwerp 
Guild  of  St.  Luke,  and  became  a  citizen  in  1559. 
An  '  Adoration  of  the  Magi '  by  him  is  in  the 
Vienna  Galk-ry.  To  him  also  is  now  given  the 
'Last  Judgment,'  signed  Crispian  /.,  and  dated  in 
1571,  in  the  Museum  at  Antwerp.  He  also  dis- 
tinguished himself  as  an  architect.  He  died  in 
1601.  Van  den  Broeck  engraved  both  on  wood 
and  on  copper,  and  marked  his  plates  with  a 
cipher  composed  of  the  letters  G  V  and  B,  thus 

^BorCS. 

The  following  may  be  named  : 

COPPEB-PLATES. 

The  Creation ;  a  series  of  seven  plates,  with  Latin 

inscriptions. 
Another  set  of  nine  Scriptural  scenes,  beginning  with 

an  '  Adam  and  Eve,'  and  ending  with  a  '  Tower  of 

Babel.' 
Nineteen  scenes  from  the  Life  of  the  Virgin. 
The  Crucifixion  ;   with  a  border  in  which   the  Instm* 

ments  of  the  Passion  are  introduced. 

WOODCUTS. 

The  Annunciation  {circular). 

The  Visitation  {do.). 

The  Adoration  of  the  Shepherds  [do.). 

The  Adoration  of  the  Magi  [do,]. 

The  Circumcision  [do.). 

VAN  DEN  BROECK,  Elias,  a  Flemish  painter, 
was  born  at  Antwerp  about  1657.  He  was  prob- 
ably a  scholar  of  Ab.  Mignon,  but  De  Heera  and 
Ernst  Stuven  have  also  been  suggested  as  his 
masters.  He  painted  flowers  and  fruit  with  toler- 
able success.  The  Vienna  Gallery  has  three  works 
by  him,  and  there  are  four  in  the  Schwerin  Gallery. 
He  died  at  Amsterdam  in  1708. 

VAN  DEN  BROECK,  Veit.    See  Uijtenbrouck. 

VAN  DEN  DUCK,  Daniel,  (or  Van  den  Dyck,) 
was  born,  according  to  Brulliot,  in  France,  but 
Boschini  and  others  say  he  was  a  native  of 
Flanders.  He  was  an  historical  painter,  and  also  an 
etcher.  He  went  to  Venice,  and  in  1658  became 
inspector  of  the  gallery  of  the  Duke  of  Mantua.  It 
is  said  that  he  was  a  successful  painter  of  historical 
compositions  and  portraits,  in  which  he  was  assisted 
by  his  wife  Lucretia,  a  daughter  of  Nicolas  Renier 
Mabusb,  whom  he  married  at  Venice.  Van  den 
Dijck  is  said  to  have  died  in  1729.  Robert-Dumes- 
nil  has  described  five  etchings  by  him,  all  of  which 
have  his  name.  Three  of  them,  marked  below  with 
a  star,  have  sometimes  been  attributed  to  Anthony 
Van  Dyck. 


*  Susannah  and  the  Elders;  Dani'.  Vanden  Dyek  in.  et 

fecit. 

*  The  Virgin  and  Child ;  DV.  Dyck  in  etfec' 
St.  Catharine ;  D.  V.  Dyck  I. 

The  Deification  of  .ffineas. 

*  A  Bacchanalian  scene ;  Silenus  drunk  at  table,  sup- 
ported by  a  Bacchante;  Dani'.  Van  den  Dyck 
fecf. 

VAN  DEN  EECKHOUT,  Antonie,  a  Flemish 
painter  of  flowers  and  fruit,  was  born  at  Bruges 
about  1651.  He  accompanied  his  relation,  L.  de 
Deyster,  to  Italy,  and  remained  there  several  years. 
He  afterwards  went  to  Lisbon,  where  he  met 
with  encouragement,  and  married  a  lady  of  for- 
tune. After  this  he.  only  painted,  perhaps,  for  his 
amusement.  He  is  said  to  have  been  assassinated 
in  1695,  when  driving  in  his  coach. 

VAN  DEN  EECKHOUT,  Gerbband,  (or  Van 
den  Eckhoot,)  was  born  at  Amsterdam  in  1621, 
and  was  in  the  school  of  Rembrandt  from  about 
1635  to  1640.  He  was  a  favourite  pupil,  and  lived 
in  close  intimacy  with  Rembrandt  even  after  he 
had  left  his  house.  He  excelled  in  small  Biblical 
subjects,  painted  in  close  imitation  of  his  master. 
Good  examples  are  the  '  Tobit,'  in  the  Brunswick 
Gallery,  and  a  '  Raising  of  Jairus's  Daughter,'  in 
the  Berlin  Museum,  if  indeed  the  latter  be  his. 
Herr  Bode  prefers  to  give  it  to  Bernard  Fabritius, 
Late  in  life  Eeckhouttookto  painting  large  pictures, 
which  are  greatly  inferior  to  his  small  works.  He 
died  at  Amsterdam  in  1674.     Other  works  : 


Amsterdam.     E.Mus. 
Brunswick.      Gallery. 


Cassel.  „ 

Dresden.  „ 

Frankfort.  Stddel  Inst. 

London.    Stafford  Ho. 
„         Aot.  Gallery. 


,,  St.  John's 

Lodge. 

Munich.     Pinakothek. 

Paris.  Louvre. 

Pommersfeld.  Gallery. 


The  Woman  taken  in  Adultery. 
Huntsman  Resting. 
Sophonisba  taking  the  Poison. 
Portrait  of  an  old  Man. 

And  Jive  others. 
The  Circumci.sion. 
Simeon  in  vhe  Temple. 
Portrait  of  Dapper,  the   Dutch 

Historian.     1669. 
Soldiers  gambling, 
(i')  Christ  blessing  the  Children. 

(Formerly   in  the    Suermondt 

Collection,  and  looked  upon  as 

a  masterpiece  by   Kembrandt 

himself.) 
I  Merry  Life  in  the  Guard-house 
)      (in  Terborch's  style). 
Christ  among  the  Doctors. 
Hannah  delivering  Samuel  to  the 

High  Priest. 
The    Witch    of    Endor    raising 

Samuel. 
„  „         Six    Persons    over    a    Game    of 

Draughts. 
Scbleissheim.         „  Abigail  before  David. 

There  are  a  few  etchings  by  Gerbrand  Van  den 
Eeckhout,  among  them  : 

A  Bust  of  a  young  Man,  in  an  Oriental  Dress  ;  marked 

G.  V.D.    1646. 
The  Portrait  of  Cornelius  van  Tromp. 

VAN  DEN  HECKE,  Johan,  bom  at  Quare- 
moude,  near  Oudenarde,  about  1625,  was  a  painter 
uf  landscapes,  sea-pieces,  still-life,  and  portraits. 
He  lived  for  many  years  in  Rome,  where  he 
practised  with  success.  He  returned  eventually 
to  his  own  country,  settled  at  Antwerp,  and  died 
there  about  1669.  In  the  Madrid  Gallery  there 
are  three  marine  pictures  by  hira. 

VAN  DEN  HECKEN,  Abraham,  a  painter  of 
the  Dutch  school,  born  at  Antwerp.  In  1635  he 
was  at  Amsterdam,  and  there  married  the  sister 
of  the  painter  Gerard  Lundens.  From  1636  to 
1656  he  worked  alternately  at  the  Hague  and  at 

237 


A  BIOGRAPHICAL   DICTIONARY   OF 


Amsterdam.  He  painted  interiors,  peasant  as- 
semblies, and  portraits.  Tiie  Amsterdam  Museum 
has  a  signed  example  of  his  work. 

VAN  DEN  HEaVELE,  Antonie,  (called  Don 
Antonio,)  a  scholar  of  Qaspar  de  Grayer,  was 
bom  at  Ghent  in  1600.  He  was  for  some  years 
in  Italy.  On  his  return  to  Ghent  he  painted  many 
historical  pictures  and  portraits,  which  are  in  the 
churches  and  private  collections  of  Ghent,  and 
other  Belgian  cities. 

VAN  DEN  HOECKE,  Jan,  (or  Van  Hoeck,) 
painter,  born  at  Antwerp  in  1611,  was  the  son  of 
Kaspab  van  den  Hoeck,  an  obscure  painter.  Jan 
was  probably  a  pupil  of  Rubens,  though  there  is 
no  direct  evidence  on  this  point.  He  was,  at  any 
rate,  one  of  the  most  successful  imitators  of  the 
master.  His  chief  merit  lies  in  the  warm  harmony 
of  Ills  colour.  He  visited  Italy  and  Germany,  and 
in  both  countries  was  well  received,  and  patronized 
by  the  most  influential  persons  of  the  day.  The 
Archduke  Leopold  made  him  his  painter  in  ordinary. 
In  1647  he  returned  to  the  Netherlands,  in  the 
suite  of  the  archduke,  and  died  at  Antwerp  in  1651. 
In  the  Vienna  Gallery  there  are  two  portraits  of 
the  Archduke  Leopold  William  by  him,  and  one 
of  Philip  IV.  of  Spain  ;  in  the  Rotterdam  Museum  a 
'Roman  Charity,'  and  other  pictures  at  Antwerp, 
Bruges,  Louvain,  and  Stockholm. 

VAN  DEN  HOVE,  Frederik  Hendrik,  a  Dutch 
engraver,  was  born  at  Haarlem  about  1630.  The 
circumstances  of  his  life  are  little  known,  but  he 
resided  chiefly  in  London,  where  he  was  employed 
by  the  booksellers.  His  prints  are  dated  from 
1648  to  1692,  and  consist  chiefly  of  portraits. 
He  also  engraved  some  plates  for  the  '  Historia 
Plantarum '  of  Robert  Morison,  and  several  of  the 
plates  for  Quarles'  '  Emblems.'  He  died  after 
1716.  We  have,  among  others,  the  following 
portraits  by  him : 

James  II. 

William  III.  on  Horseback.     1692.    |    Mary  II. 

"William  and  Mary  Euthrooed. 

Thomas  Suttou,  founder  of  the  Charter-house. 

Thomas  Butler,  Earl  of  Ossory. 

Sir  Edmundbury  Godfrey ;  prefixed  to  his  Life. 

Sir  Matthew  Hale  ;  prefixed  to  his  '  Origin  of  Mankind.' 

Samuel  Speed,  Poet.    |    Sir  Thomas  Browne,  M.D. 

Hansard  Knoliis,  V.D.M.    |    John  Hopkins,  Poet. 

Sir  Henry  Morgan,  Governor  of  Jamaica. 

Joseph  Moxon,  Mathematician. 

John  Taylor,  Mathematician. 

WilUam  "Winstanley,  Biographer. 

VAN  DEN  KERCKHOVE,  Joseph,  was  bom  at 
Bruges  in  1670,  and  studied  at  Antwerp  under  Jan 
Erasmus  Quellin.  Under  that  master  his  progress 
was  rapid,  and  on  leaving  school  he  set  out  intend- 
ing to  travel  through  France  to  Italy,  but  meeting 
with  encouragement  in  Paris,  he  lived  there  some 
years,  and  abandoned  his  project  of  visiting  Italy. 
On  his  return  to  Bruges  he  united  with  Duvenede 
in  founding  an  academy,  of  which  lie  became  first 
director.  He  was  also  employed  in  a  series  of 
fifteen  pictures  from  the  Life  of  our  Saviour,  for 
the  church  of  the  Dominicans  at  Bruges.  The 
collegiate  church  of  St.  Saviour  has  four  '  Works 
of  Mercy  '  by  him,  and  a  fine  Resurrection  ;  a  '  St. 
Catharine  of  Siena '  is  in  the  Bruges  Academy.  At 
Ostend  he  painted  a  '  Feast  of  the  Gods,'  on  the 
ceiling  of  the  town-house.  He  also  painted  por- 
traits.    He  died  at  Bruges  in  1724. 

VAN  DEN  KERKHOVE,  Feedkrik,  the  son  of 
Jan  van  den  Kerkhove,  a  living  Belgian  painter, 
showed  an  extraordinary  bent  towards  art  from 

238 


very  early  years.  He  was  bom  in  1862,  painted  a 
number  of  landscapes  which  were  exhibited  in 
various  European  capitals,  and  died  in  1873.  His 
works  were  rude  in  design,  but  full  of  poetry. 

VAN  DEN  QUEBOURN,  Crispin,  (or  Van 
QoEBoREN,)  a  Dutch  engraver,  was  bora  at  the 
Hague  about  1600.  He  mainly  confined  himself 
to  engraving  portraits,  which  he  did  with  consider- 
able skill.  He  also  executed  a  part  of  the  plates 
for  Thibault's  '  Academie  de  I'Ep^e,'  published  at 
Antwerp  in  1628;  and  a  print  after  Hendrik  van 
Balen's  'Nativity.'  The  date  of  his  death  is  im- 
known.  We  have,  among  others,  the  following 
portraits  by  him : 

Queen  Elizabeth.     1625. 

Charles  I.     1626. 

■William  I.,  Prince  of  Orange ;  after  Visscher. 

Mary,  daughter  of  Charles  I.,  consort  of  the  Prince  of 

Orange. 
Friedrieh  Wilhelm,  Elector   of   Brandenburg,  and   his 

Consort  Luise  of  Orange  ;  afttr  Honthorst. 
Count  Heinrich  Math,  von  Thurn-Valsassma  ;  from  hit 

own  de^iyn. 
Friedrieh  V,,  Elector  Palatine. 
Elizabeth,  daughter  of  James  I.,  his  consort. 
Juliana.  Princess  of  Hesse. 
Frederick  Henry,  Prince  of  Nassau.     1630. 

VAN  DEN  RIETHOORN,  Jan,  (or  Bithoorn,) 
a  Dutch  painter  of  little  note,  was  born  at  Haarlem 
early  in  the  17th  century.  He  was  a  pupil  of 
Cornells  Visscher,  and  painted  portraits  and  genre. 
He  joined  the  Guild  at  Haarlem  in  1646,  and  died 
in  the  same  city  in  1669. 

VAN  DEN  TEMPEL,  Abraham,  was  bom  at 
Leeuwarden  in  1622  or  1623,  and  after  a  period  of 
study  with  his  father,  Lambert,  became  the  scholar 
of  Joris  van  Schooten  at  Leyden.  He  remained 
,at  Leyden  until  1660,  after  which  he  settled  at 
Amsterdam.  He  painted  small  pictures  of  historical 
subjects,  allegories,  conversations,  and  portraits. 
His  works  are  very  highly  finished,  and  he  has  the 
credit  of  having  been  master  to  Frans  Mieris  the 
elder,  Karel  de  Moor,  Ary  de  Vols,  and  Michiel  van 
Musscher.  In  portraiture  he  followed  the  style 
of  Van  der  Heist,  and  acquired  especial  repute. 
He  died  at  Amsterdam  May  13,  1672.  Three 
allegories  by  him  are  in  the  Cloth  Hall  at  Leyden, 
and  some  excellent  portraits  in  the  Berlin  and 
Rotterdam  Museums.  The  following  may  also  be 
named : 

Amsterdam.       R.  Mus.    Portrait  of  Machteld  Bas,  widow 
of  Abraham  Visscher. 

„  „  Portrait  of  Abraham  Visscher. 

„  ,,  Portrait  of  a  Woman. 

Leyden.  Orphanage.     Portraits  of  the  Regents. 

VAN  DEN  WIJNGAERDE,  Anthonie,  who 
lived  in  the  middle  of  the  16th  century,  is  known  as 
the  draughtsman  of  a  series  of  thirty-two  views  of 
Spanish  cities,  which  were  made  for  Plantin,  the 
celebrated  printer  of  Antwerp.  These,  with  a 
number  of  topographical  drawings  of  London  and 
its  neighbourhood,  Rome,  and  various  cities  of  the 
Netherlands,  are  now  in  the  South  Kensington 
Museum.  A  collection  of  views  of  English  cities 
by  him  is  in  the  Bodleian  Library.  Some  of  his 
drawings  bear  his  signature  and  the  date  1558, 
whence  it  has  been  conjectured  that  he  was  a 
Fleming  attached  to  the  suite  of  Philip  II.,  and 
that  he  accompanied  that  prince  on  his  travels. 

VAN  DEN  WIJNGAERDE,  Frans,  a  Flemish 
draughtsman,  etcher,  and  print  publisher,  was  bom 
at  Antwerp  about  the  year  1612.  He  died  about 
1660.     We   have   by   him   several   etchings   after 


PAINTERS  AND  ENGRAVERS. 


Rubens  and  others,  which  possess  great  merit, 
though  the  drawing  is  frequently  incorrect.  Among 
them  are  the  following: 

Samson  killing  the  Lion  ;  after  Rubens. 

Christ  appearing  to  Mary  Magdalene ;  after  the  same. 

The  Nuptials  of  Peleus  and  Thetis ;  after  the  sajne. 

A  Bacchanal,  in  which  Bacchus  is  represented  with  a 
Cup,  into  which  a  Bacchante  is  pressing  the  juice  of 
the  Grape  ;  after  the  same. 

Brawling  Soldiers  ;  after  the  same. 

A  dead  Christ,  supported  by  the  Marys  ;  after  Van  Dyck. 

Achilles  discovered  amidst  the  Daughters  of  Lycomedes ; 
after  the  same. 

Two  Women  with  a  Light ;  after  Callot. 

The  Return  from  Egypt ;  after  J.  Thomas. 

Flemish  Peasants  regaling  at  the  Door  of  an  Alehouse  ; 
after  Teniers. 

The  Temptation  of  St.  Anthony  ;  after  the  same. 

Portrait  of  Lucas  Vosterman  ;  after  Lyvius. 

St.  Jerome  ;  after  Vanni. 

VAN  DER  AA,  Hildebrand,  a  Dutch  engraver, 
who  flourished  from  about  1692  to  1728,  was 
brother  to  Pieter  Van  der  Aa,  the  celebrated  pub- 
lisher of  Leyden,  by  whom  he  was  employed  to 
engrave  frontispieces,  portraits,  and  other  plates 
for  books.  They  are  executed  with  the  graver  in 
a  heavy  style,  and  the  drawing  is  incorrect.  In 
the  collection  entitled  '  Principum  et  illustrium 
Virorum  Imagines,'  there  is  a  portrait  by  Van 
der  Aa,  inscribed  Otho,  Archiep.  et  Vice-Comes 
Mediolan.  H.  v.  Aa  del.  et  scidpsit.  He  engraved 
the  title  for  the  '  Index  Batavicus,'  by  Adriaan 
Pars,  printed  at  Leyden  in  1701. 

VAN  DER  AA,  Thierry,  (or  Dierick,)  a  Dutch 
painter,  born  at  the  Hague  in  1731,  was  a  disciple 
of  Johann  Heinrich  Keller;  and  after  quitting  this 
master  he  worked  in  concert  with  Gerrit  Mels,  as  a 
painter  of  coach  panels.  His  skill  was  shown 
chiefly  in  flowers,  fruit,  and  birds.  He  practised 
for  a  time  in  Paris,  and  died  in  1809. 

VAN  DER  ASSELT,  Jan,  from  1364  to  1380 
held  the  post  of  painter  to  Luis  de  Male,  Count 
of  Flanders,  for  whom  he  executed  a  series  of 
portraits  of  the  Princes  of  the  House  of  Flanders, 
on  the  walls  of  a  chapel  in  Notre  Dame,  at 
Courtrai.  Of  these  portraits  the  faces  have  dis- 
appeared, and  those  parts  which  remain  do  not 
testify  much  to  the  author's  ability  as  an  artist. 
He  was  employed  a  few  years  later  by  Philip  the 
Hardy. 

VAN  DER  AST,  Balthasar,  (or  Bartholomaus,) 
flourished  at  Utrecht  in  the  early  part  of  the  17th 
century,  and  was  received  into  the  guild  of  St. 
Luke  in  1619  as  Baltus  Van  der  Asch.  He  painted 
small  pictures  of  flowers  and  fruit,  in  the  manner 
of  Brueghel,  introducing  insects,  shells,  drops  of 
water,  and  other  such  accessories.  Unfortunately 
his  pictures  are  defective  in  arrangement  and  har- 
mony, though  each  object  by  itself  is  well  done. 
In  1629  he  presented  to  the  Hospital  of  St.  Job, 
at  Utrecht,  a  picture  of  fruit.  Works  : 
Berlin.  Museum.     Three  pictures  of  still-life. 

Dresden.  Gallery.     Shells,  apricots,  and  a  branch 

of  currants. 

VAN  DER  BANCK,  Johan,  portrait  painter,  and 
son  of  Pieter  Van  der  Banck,  was  born  in  England 
about  1694.  He  lived  a  considerable  time  in 
London,  where  he  painted  numerous  portraits, 
some  of  distinguished  persons.  He  showed  much 
facility,  but  often  pidnted  with  iusufficient  care. 
He  painted  the  '  Sir  Isaac  Newton,'  in  the  rooms 
of  the  Royal  Society,  and  has  left  at  Hampton 
Court  a  group  of  figures.  He  had  some  power  of 
comedy,  and,  in  1736,  designed  the  illustrations  to 


Lord  Carteret's  translation  of '  Don  Quixote.'  He 
was  the  leader  of  the  party  which  seceded  from 
Sir  James  Thornhill's  Academy,  and  himself  estab- 
lished a  rival  school,  which,  however,  was  not  long 
lived.     He  died  in  London  in  1739. 

VAN  DER  BANCK,  Pieter,  an  engraver,  of 
Dutch  extraction,  was  born  in  Paris  in  1649.  He 
was  a  scholar  of  Fran(;ois  de  Poilly,  under  whom 
he  became  an  excellent  artist.  About  the  year 
1674  he  came  to  England  with  Henri  Gascar,  the 
painter,  and  engraved  the  portraits  of  many  eminent 
persons  of  his  time.  His  chief  merit  lies  in  the 
neatness  and  finish  of  his  execution.  He  engraved 
a  set  of  heads  for  Kennet's  History  of  England, 
from  the  designs  of  Lutterel.  The  time  required 
for  the  execution  of  his  plates,  which  were  unusually 
large  for  their  class,  was  out  of  all  proportion  to 
the  prices  he  received.  He  was  reduced  to  poverty, 
and  became  dependent  on  his  brother-in-law,  one 
Forester,  in  whose  house  at  Bradfield,  Hertford- 
shire, he  died  in  1697.  His  widow  sold  his  plates 
to  Brown,  the  printseller,  who  made  considerable 
sums  by  them.  The  following  are  his  more 
interesting  prints  : 

Archbishop  Tillotson;  after  Mrs.  Beale;  the  face  was 

taken  out  and  re-engraved  by  R.  White. 
Thomas  Lamplugh,  Archbishop  of  York. 
Archbishop  Tenison ;  after  the  same.     1695. 
John  Smith,  writing-master ;  after  Fait  home. 
Charles  II. ;  after  Gascar.     1B75  and  1677.     Two  plates. 
James  II.,  large  plate  ;  after  Kueller, 
Mary,  his  Queen ;  afttT  the  same. 
"William  III. ;  after  the  same. 
Queen  Mary  II.;  after  the  same. 
William,  Lord  Russell ;  after  the  same. 
Sir  Willi.im  Temple  ;  after  LeliJ.     1679. 
Lady  Litchfield ;  after  Verelst. 
The  same ;  after  Wiss'mg. 
William  III. ;  after  the  same. 
Queen  Mary  II.;  after  the  same. 
The  Princess  Anne,    i    Prince  George  of  Denmark. 
Thomas,  Earl  of  Ossory. 
Alexander,  Earl  of  Moray.     1686. 
George,  Viscount  Tarbat.     1692. 
James,  Duke  of  Monmouth. 
Richard,  Lord  Maitland.     1683. 

Sir  George  Mackenzie.    |    Archibald,  Earl  of  Argyle. 
Frederick,  Duke  of  .Schomberg. 
Robert,  Earl  of  Yarmouth. 

John,  Earl  of  Strathnaver,  or  Earl  of  Sutherland. 
William,  Duke  of  Queen.sberry. 
George,  Lord  Dartmouth.    |    Sir  Thomas  Allen. 
James,  Earl  of  Perth.     1683. 
George  Walker,  who  defended  Londonderry 
ThomasDalziel.      |      John  Locke. 
Edmund  Waller,     ^t.  23  and  jEt.  70.     Two  plates. 
John  Cotton  Bruce. 
The  Vu-gin  and  Child,  with  St.  Elizabeth  and  St.  John ; 

after  6'.  Bourdon. 
Christ  praying  on  the  Mountain  ;  after  the  same. 
The  Naval  Triumph  of  Charles  U.  from  a  ceiling  at 

Windsor  Castle,  by  Verrio,  in  two  sheets. 
Merciu7  in  the  Air,  bearing  the  portrait  of  Charles  II., 

from  the  ceiling  at  Windsor  Castle;  after  the  same. 

VAN  DER  BAREN,  Jan  Anton,  a  painter  of 
flowers,  landscapes,  &c.,  who  flourished  in  the 
middle  of  the  17th  century.  He  seems  to  have 
founded  his  style  upon  that  of  Zeghers.  He  was 
employed  at  I5russels  by  the  Archduke  Leopold 
William,  whom  he  accompanied  to  Vienna  in  1656. 
He  succeeded  Teniers  in  the  curatorship  of  that 
prince's  collections.  In  the  Vienna  Gallery  there 
are  two  pictures  by  him:  both  female  portraits 
surrounded  by  flowers. 

VAN  DER  BAUEN,  Josse,  painter,  flourished 
at  Louvain  in  1604.  He  is  supposed  to  have  been 
a  pupil  of  Michael  Coxie.     In  the  church  of  St. 

239 


A  BIOGRAPHICAL  DICTIONARY   OF 


Pierre,  Louvain,  there  ie  a  triptych  by  hira,  a 
'  Decapitation  of  St.  Dorothea ' ;  and  in  St.  Ger- 
trude's two  panels  from  broken-up  altar-pieces.  He 
also  made  the  drawings  for  the  views  of  Louvain 
and  H^verU,  engraved  in  the  '  Lovanium '  (1604). 

VAN  DER  BENT,  Johannes,  a  Dutch  painter,  was 
born  at  Amsterdam  in  1650.  He  was  first  instructed 
by  Philips  Wouwennan,  on  whose  deatli  he  be- 
came a  scholar  of  Adriaen  van  de  Velde.  His  style 
of  painting,  however,  bears  a  closer  resemblance 
to  that  of  Nicolaas  Berchem  than  to  that  of  either 
of  his  masters  ;  and  his  works  are  often  mistaken 
for  Berchem's.  Besides  landscapes,  one  of  which 
is  in  the  Rotterdam  Museum,  he  painted  battles 
and   animal  pieces.     His  pictures  are  frequently 

met  with  in  English  collections.     "^^JjJ     ^J^ 

He  died  in  1690. 

VAN  DER  BERG,  Nicolaas,  a  Flemish  en- 
graver, is  supposed  to  have  been  a  native  of  Ant- 
werp. He  etched  some  plates  after  Rubens,  wliich 
he  marked  N.  V.  B.  Berg  ;  among  them  are : 

Portrait  of  Justus  Lipsius.  ,    ,r  ,      _., 

Portrait  of  a  devout  person,  with  a  crucifix ;  half  length. 

VAN  DER  BERGE,  P.,  an  obscure  Dutch  en- 
graver, produced  a  set  of  plates  for  a  folio  volume 
of  prints,  entitled  '  Theatrum  Hispania;,'  or  views 
of  the  towns,  palaces,  &c.  of  Spain,  published_  at 
Amsterdam.  He  also  engraved  some  portraits, 
including  one  of  a  Jewish  Rabbi,  with  a  Hebrew 
inscription,  to  which  is  appended  P.  V.  D.  Berge 
ad  vivum  del.  et  fee. ;  also  the  '  Triumph  of 
Galatea,'  after  A.  Coypel. 

VAN  DER  BILT,  Jacques,  (or,  as  he  usually 
called  himself,  BiLTlDS,)  a  native  of  the  Netherlands, 
was  living  at  the  Hague  in  1651  ;  he  went  to 
Amsterdam  in  1661,  and  to  Antwerp  in  1671,  where 
he  was  made  a  member  of  the  Guild  in  the  follow- 
ing year.  He  was  still  living  in  1678.  A  '  Cock- 
fight '  by  him  is  in  the  Antwerp  Museum,  and  a 
'  Dead  Game '  in  the  Copenhagen  Gallery.  He  ex- 
celled in  painting  game,  fowling-pieces,  pouches, 
nets,  and  other  impedimenta  of  the  sportsman. 
These  objects  he  was  fond  of  representing  on  a 
white  ground,  as  if  they  were  attached  to  the  wall ; 
they  are  often  painted  with  such  fidelity  as  almost 
to  produce  illusion. 

VAN  DER  BORCHT,  Hendeik,  the  elder,  painter 
and  engraver,  was  born  at  Brussels  in  1583.  The 
troubles  in  the  Low  Countries  obliged  his  family 
to  move  into  Germany  when  he  was  very  young, 
and  they  settled  at  Frankfort,  where  he  was  placed 
under  one  of  the  Valkenborchs.  The  Earl  of 
Arundel,  passing  through  Frankfort,  had  dealings 
with  Van  der  Borcht,  and  became  the  patron  of 
his  son.  Van  der  Borcht  the  elder  painted  flowers 
and  fruit.  Towards  the  latter  part  of  his  life  he 
resided  at  Antwerp,  where  he  died  in  1660.  We 
have  the  following  etchings  by  this  artist : 

Tlie  Virgin  and  Infant  Jesus  ;  after  Paryni'i/iano.    1637. 

The  dead  Christ,  supported  by  Joseph  of  Arimathea, 
from  a  drawing  by  Parmigiauo  after  Raphael.    1645. 

Abraham  at  Table  with  the  Angels  ;  after  L.  Carracct. 

The  Infant  Jesus  embracing  St.  John,  from  Guido's 
print ;  after  Agost.  Carracci. 

Apollo  and  Cupid  ;  after  Perino  del  I'ac/a  ;  oval. 

Twenty-two  plates  of  the  Entry  of  Frederick,  Elector 
Palatine,  with  Elizabeth,  Princess  Royal  of  England, 
his  Consort,  into  Frankenthal ;  dated  1613. 

VAN  DER  BORCHT,  Hendrik,  the  younger, 
w:ifl  bom  at  Frankfort  about  1610.     He  was  edu- 

240 


cated  as  a  painter,  but  was  employed  as  draughts- 
man and  engraver  by  the  Earl  of  Arundel,  by  whom 
he  was  sent  to  Italy.  After  Lord  Arundel's  death, 
he  entered  the  service  of  Charles  II.,  then  Prince 
of  Wales,  but  afterwards  retired  to  Antwerp,  where 
he  died  at  a  very  advanced  age.  Hollar  engraved 
the  portraits  of  both  the  elder  and  the  younger 
Hendrik  Van  der  Borcht,  the  former  from  a  painting 
by  the  latter. 

VAN  DER  BORCHT,  Pieter,  the  elder,  a 
Flemish  landscape  painter  and  engraver,  was  born 
at  Brussels  about  the  year  1540.  His  work  as  a 
painter  was  of  no  great  merit,  but  he  applied 
himself  with  industry  at  least  to  engraving,  and 
has.  left  a  great  number  of  somewhat  rough  plates. 
Among  them  are  : 

A  set  of  Landscapes,  with  subjects  from  the  Old  and 
New  Testament. 

'RwTsX'En^nymea.is;  Cornells  van  Tienenexc. 

The  Feast  of  the  Company  of  Archers  ;  same  inscription 

A  Country  AVedding;  fecit  Fetrus  van  der  Borcht. 
1560. 

A  Landscape,  with  Hagar  and  Ishmael ;  dated  1586.  _ 

A  set  of  178  Plates  for  the  '  Metamorphoses  '  of  Ovid, 
published  at  Antwerp ;  Theodore  Galle  exc. 

VAN  DER  BORCHT,  Pieter,  the  younger, 
received  the  freedom  of  Antwerp  in  1597.  Together 
with  one  Paul  van  der  Borcht,  he  is  supposed  to 
have  been  of  the  same  family  as  Pieter  the  elder. 
Pieter  the  younger  and  Paul  worked  chiefly  at 
Mechlin. 

VAN  DER  BRDGGEN,  Jan,  a  Flemish  engraver, 
was  born  at  Brussels  in  1649.  After  engraving 
some  plates  in  Holland  and  Vienna,  he  settled  in 
Paris,  and  followed  the  business  of  a  printseller. 
He  scraped  several  plates  in  mezzotint ;  they  are 
chiefly  portraits  and  drolleries,  after  Teniers,  Brou- 
wer,  and  Ostade.     He  marked  his  plates  with  his 

name,  or  with  the  cipher  "SS.     The  following  are 

the  best : 

Portrait  of  himself  ;  after  LaryilUere. 

Soldiers  in  a  Tavern,  drinking  and  playing  Cards;  after 

Teniers.  .    .  i. 

The  Children  of  Teniers  playing  with   Soap-bubbles; 

after  the  same. 
The  Peasant  War  ;  after  the  same. 
An  old  Peasant,  and  a  Ghl  playing  on  the  Flute ;  after 

the  same.  . 

A  Man  drinking  and  a  Woman  smoking  ;  after  the  same. 
Portrait  of  A.  van  Dyck  ;  se  ipse  pinx. 
Portrait  of  Ix)uis  XIV.     1681. 
Portrait  of  Johann  August  Uijtenbogaart ;  after  Hem- 

brandt. 
The  Gold  'Weigher ;  after  the  same. 
An  old  Woman  weighing  Gold;  J.  V.  Brug.f. 
Man  holding  a  Goblet. 
Man  leaning  on  a  Table,  and  a  Woman.    _ 
Man  sitting  on  the  Trunk  of  a  Tree,  lighting  his  Pipe. 
Cupid  and  Psyche. 
A  SkuU ;  Memento  mori. 

VAN  DEU  BKUGHEN,  Hans  or  Louis,  a  French 
painter  of  miniatures,  was  bom  in  Paris  in  1615; 
died  in  the  same  city,  April  5th,  1658.  He  was  a 
member  of  the  Academy  of  Painting  in  1648,  but 
details  of  his  life  are  wanting. 

VAN  DER  BURCH,  Aelbert,  was  a  portrait 
painter,  born  at  Delft  in  1672.  He  was  a  scholar 
of  Verkolje,  and  of  Adriaan  van  der  Werff. 

VANDERBURGH,  Jacques  Andr6  Edouard, 
painter,  son  of  one  Dominique  Vanderhurch  of 
Cambray,  was  bom  at  Montpellier,  H^rault,  Decem- 
ber 1st,  1756.  He  studied  in  Paris  and  Italy.  In 
1791  he  began  to  exhibit  landscapes  at  the  Salon. 


PAINTERS  AND  ENGRAVERS. 


In  1801  lie  won  the  Prix  d'Encouragement  with  a 
landscape  with  aniraala  and  shepherds.  Some 
rehgiouB  pictures  by  hira  are  in  the  Church  of  St. 
Maurice,  at  Lille ;  and  there  are  other  examples  of 
his  art  in  the  Musees  of  that  town,  of  Lisieux,  and 
of  ilontpellier.  Vanderburch  died  at  the  Sorbonne, 
Paris,  in  August,  1803. 

VANDERBURGH,  Jacques  Hippoltte,  land- 
scape painter  and  draughtsman,  was  bom  in  Paris 
in  1796.  He  was  a  pupil  of  his  father,  J.  Andr^ 
Vanderburch,  and  also  studied  under  David,  Gu6rin, 
and  Mulard.  His  works  first  appeared  at  the  Salon 
in  1824.  He  became  draughtsman  to  the  Museum 
of  Natural  History  in  Paris,  and  also  practised  in 
lithography.  Much  of  his  attention  was  devoted 
to  the  theory  of  art,  and  he  wrote  '  M^thode 
Nouvelle  de  Peinture  k  1' Aquarelle '  (1835),  and 
'Essais  sur  le  Paysage  k  I'Huile  '  (1839).  He  died 
in  Paris,  October  20, 1854.  There  is  a  '  View  on  the 
Lake  of  Geneva'  by  him  in  the  Marseilles  Museum. 

VAN  DER  BURG,  Adriaan,  (or  Vanderburo,) 
was  bom  at  Dordrecht  in  or  about  1693,  and  was  a 
scholar  of  Arnold  Houbraken,  whom  he  accom- 
panied to  Amsterdam.  He  became  a  good  painter 
of  portraits  and  conversation  pieces.  He  produced 
some  cabinet  pictures  in  the  style  of  his  master, 
and  also  attempted  (o  imitate  Mieris  and  Metsu. 
He  died  in  1733.  His  best  picture  is  a  portrait 
group  of  seventeen  directors  of  the  Dordrecht  Mint. 

VAN  DER  BURG,  Thierry,  (or  Dirck,)  was  bom 
at  Utrecht  in  1723.  He  painted  landscapes  with 
cattle,  views  of  villages,  and  country  mansions. 
He  died  in  1773. 

VAN  DER  BURGH,  Hendrik,  a  Dutch  painter, 
born  at  the  Hague  in  1769.  He  died  there  Sep- 
tember 15th,  1858.  In  the  Amsterdam  Museum 
there  is  a  '  Milking  Cows'  by  him. 

VAN  DER  BURGH,  Hendrik  Adam,  an  obscure 
Dutch  painter,  born  at  the  Hague  in  1798.  '  Milk- 
ing Time '  by  liim  is  in  the  Amsterdam  Museum. 

VAN  DER  BURGH,  R ,  an  obscure  Dutch 

painter  of  still-life,  who  was  working  towards  the 
close  of  the  17th  century.  The  Amsterdam  Museum 
has  a  study  of  fish  by  him. 

VAN  DER  BURGT,  N.,  an  obscure  frait  and 
flower  painter,  who  lived  about  the  middle  of  the 
18th  century.  It  is  said  that  he  copied  some  of 
Luca  Giordano's  pictures. 

VAN  DER  CABEL.    See  Van  deb  Kabel. 

VAN  DER  CAM,  F.,an  obscure  Dutch  engraver, 
■who  flourished  about  the  year  1750.  He  scraped 
a  few  platPS  of  Scriptural  subjects. 

VAN  DER  CROOST,  Anthonie  Jansz,  (or  Croos,) 
a  Dutchman  of  the  17th  century,  who  won  a  certain 
reputation  in  his  time  as  a  painter  of  town  views. 
In  1647  he  was  received  into  the  Guild  of  St.  Luke 
at  the  Hague,  and  practised  in  that  city,  where  ho 
died  at  an  advanced  age  about  the  year  1662.  He 
was  one  of  the  foundation  members  of  the  Pictura 
Society  at  the  Hague,  and  imitated  Jan  v.  Goyen, 
whose  pupil  he  may  have  been.  In  the  Amsterdam 
Museum  there  is  a  view  of  the  Castle  of  Egmont, 
near  Alkmaar,  by  him. 

VAN  DER  CROOST,  Jakob,  (or  Croos,)  painter, 
was  the  sou  of  Anthony  van  derCroost.  He  painted 
landscapes  and  marine  pieces.  Pictures  by  him, 
dated  1643  and  1667,  are  extant.  The  details  of 
his  life  are  unknown.  The  Stadthuis  at  the  Hague 
has  a  picture  by  him. 

VAN  DER  DOES,  Aart,  engraver,  was  born  at 
the  Hague  in  1610.  He  has  left  several  portraits 
and  a  few  other  subjects,  executed  with  the  burin 
VOL.  V.  K 


in  the  style  of  Paul  Pontius,  of  whom  probably  he 
was  a  pupil.  He  engraved  several  of  the  plates 
for '  Portraits  des  Hommes  illustres  du  17™*.  Siecle,' 
published  at  Amsterdam,  some  of  which  are  dated 
1649.     The  following  plates  may  be  named  : 

Ferdinand,  Cardinal-Infant  of  Spain,  Governor  of  the 
Low  Countries,  on  Horseback ;  in  the  background  is 
the  Battle  of  Nordlingen ;  after  A.  van  Diepenheeck. 

Gerard  Coch,  Senator  of  Bremen  ;  after  A.  van  Halle. 

George  Wagner,  Qusestor  of  Eslingen,  Plenipotentiary 
at  the  peace  of  Osnaburg ;  after  the  same. 

The  Marquis  of  Castello  Rodrigo  ;  after  Rubens. 

The  Magdalene  ;  after  Van  Dyck. 

A  Miracle  wrought  by  St.  Francis;  after  A.  van  Die- 
penheeck. 

The  Virgin  and  Child  ;  after  Erasmus  Quellin. 

The  Holy  Family  ;  after  the  same. 

VAN  DER  DOES,  Jakob,  the  elder,  was  bom  at 
Amsterdam  in  1623.  After  being  instructed  for  some 
time  by  Nicolaas  Moyaert,  he  visited  Paris,  when 
he  was  twenty-one  years  of  age,  and  afterwards 
proceeded  to  Italy.  He  made  drawings  of  views 
in  the  vicinity  of  Rome,  and  the  work  of  Peter  van 
Laer  being  then  in  great  favour  in  Italy,  he 
adopted  the  style  of  that  master,  and  painted 
similar  subjects.  After  passing  some  years  at 
Rome,  he  returned  to  Holland.  He  died  at  the 
Hague  in  1673.  Van  der  Does  is  said  to  have 
been  a  morose,  melancholy  individual  His  pic- 
tures have  darkened  very  much.  We  have  by  him 
several  small  etchings  of  landscapes  with  cattle. 
They  are  free  and  masterly.  His  best  pictures  are 
the  following : 


Cassel. 
Copenhagen. 


Vienna. 


Gallery.    Landscape  with  Animals. 
„  Sheep  at  pasture  on  a  HiU. 

„  Sheep  and  Goats  in  an  Italian 

Landscape. 
„  Sheep  under  Oak-trees. 

Gallery.    Landscape  with    Figures    and 
Cattle. 
„  „  Italian  Landscape. 

VAN  DER  DOES,  Jakob,  the  younger,  second 
son  of  the  elder  painter  of  the  name,  was  bom  at 
Amsterdam  in  1654.  After  receiving  instruction 
from  his  father  and  Karel  du  Jardin  in  landscape, 
and  being  also  for  a  time  under  Caspar  Netscher, 
he  applied  himself  to  historical  painting  under 
Gerard  de  Lairesse,  in  which  he  made  great  pro- 
gress, and  had  produced  some  pictures  which  pro- 
mised much,  when  he  was  overtaken  by  death 
while  still  very  young. 

VAN  DER  DOES,  Simon,  the  son  of  Jakob  van 
dcr  Does  the  elder,  was  born  at  Amsterdam  in 
1653,  and  was  instructed  in  art  by  Adriaan  van  de 
Volde.  His  pictures,  like  those  of  the  elder  Van 
der  Does,  usually  represent  Italian  landscapes,  with 
figures  and  cattle,  painted  in  a  clearer  and  more 
:i,^reeable  tone  than  those  of  his  father ;  he  also 
painted  small  portraits  and  domestic  subjects, 
in  the  style  of  Caspar  Netscher.  He  is  said  by 
Houbraken  to  have  visited  England,  where  he  did 
not  remain  longer  than  a  year  ;  he  worked  also 
at  Brussels  and  Antwerp,  and  finally  settled  at  the 
Hague.  He  died  in  1717.  Simon  van  der  Does 
etched  a  few  plates  of  landscapes  with  cattle.  Pic- 
tures by  him  are  in  the  galleries  of  Amsterdam, 
Copenhagen,  the  Hague,  and  Frankfort,  and  in  the 
Vienna  Academy. 

VAN  DER  DONCKT,  Joseph,  a  Flemish  painter, 
bom  at'Alost  in  1757.  He  learnt  the  rudiments  of 
art  from  J.  de  Ryoke,  and  afterwards  studied  under 
Suv^e  and  Gaeremvn  at  the  Bruges  Academy.     In 

241 


A  BIOGRAPHICAL  DICTIONARY  OF 


his  youth  he  was  intended  for  a  Jesuit,  hut  on  the 
suppression  of  the  order,  was  sent  to  Marseilles 
into  a  house  of  business,  and  soon  abandoned 
commerce  for  painting.  He  visited  Paris  and 
Italy,  and  did  not  finally  settle  in  his  native  city 
till  1791.  Ho  distinguished  himself  as  a  painter 
of  portraits,  especially  in  pastel.  He  died  in  1821. 
The  Bruges  Academy  has  several  portraits  by 
him. 

VAN  DER  DORT,  Abraham,  modeller,  earns  a 
place  in  this  dictionary  by  having  acquired  at  least 
some  proficiency  in  painting,  for  a  portrait  of  the 
King  of  Denmark,  by  him,  was  in  the  collection  of 
Charles  I.  He  was  born  in  Holland,  was  employed 
by  the  Emperor  Rudolph,  and  afterwards  came  to 
England,  where  he  was  in  the  service  successively 
of  Prince  Henry  and  of  Charles  I.  He  was  keeper 
of  tlie  king's  pictures,  and  was  appointed  designer 
to  the  mint  in  1628.  Walpole  mentions  a  docu- 
ment in  which  he  is  recommended  as  a  husband, 
by  the  king  himself,  to  one  Louisa  Cole.  He  re- 
ceived other  favours  from  Charles,'  and  compiled 
the  still  extant  catalogues  of  the  Royal  Collections 
of  pictures,  medals,  and  other  works  of  art.  It  is 
said  that  he  mislaid  a  miniature  by  Gibson,  which 
had  been  given  into  his  safe  keeping  by  the  king, 
and  that,  when  it  could  not  be  found,  he  hanged 
himself  in  despair,  the  miniature  being  afterwards 
discovered  and  restored  by  his  executors. 

VAN  DER  EIJDEN,  Jan,  (or  Jeremias,)  portrait 
painter,  was  born  at  Brussels,  but  came  to  reside  in 
London,  where  he  was  employed  by  Lely  to  paint 
draperies.     After  the  death  of  that  artist  he  was 
patronized  by  several  of  the  nobility.     He  after- 
wards settled  in  Northamptonshire,  where,  accord- 
ing to  Walpole,  he  died  about  1697.     The  date  of 
his  death    has  also  been  given  as  1687,  and   his 
name  as  Van  deb  Heyden. 
'■"VANDER  EIJK,  Abraham,  (or  Van  der  Eyk,) 
was  a  Contemporary  of  Willem  Mieris,  and  painted 
somewhat  in  the  manner  of  that  master. 

•  VAN  DER  ELST,  Pieter.  See  Veeelst.  -■ 
;  VAN  DER  EYDEN,  John.  See  Van  der  Eijden. 
VAN  DER  GOES,  Hhgh,  was  horn,  in  all  proba- 
bility, at  Ghent  about  the  year  1435.  It  is  hot  known 
to  whom  he  was  apprenticed,  nor  under  whom  he 
worked  as  journeyman  prior  to  his  admission  as 
free  master  into  the  Guild  of  St.  Luke  at  Ghent 
■on  May  5,  14G7.  In  the  interval  between  the  ter- 
mination of  his  apprenticeshij]  and  his  admission 
as  free  master  he  doubtless  spent  some  time,  as 
was  the  custom,  in  visiting  other  towns. 

In  1468  the  wedding  of  Charles  the  Bold  and 
Margaret  of  York  took  place  at  Bruges,  and  Van 
der  Goes  was  called  thither  to  take  part  in  the 
painting  of  the  decorations  and  entremetz,  which 
on  that  occasion  were  carried  out  on  an  unusually 
splendid  scale  ;  he  was  paid  at  the  rate  of  14s.  a 
day.  Some  weeks  later  he  designed  and  painted 
the  allegorical  and  historical  figures  which  were 
hung  in  the  streets  and  elsewhere  at  Ghent  on  the 
occasion  of  the  joyous  entry  of  the  Duchess  into 
that  town.  In  1468  he  was  chosen  to  be  one  of  tlie 
four  sworn  assistants  of  the  Dean  of  bis  Guild,  of 
which  body  he  was  elected  Dean  in  1473,  an  ofiBce 
he  held  until  1476.  In  1468  he  painted  the  papal 
escutcheons  that  were  hung  over  the  town  gates 
and  in  the  church  of  St.  John  of  Ghent,  on  tlio 
occasion  of  the  Jubilee.  He  executed  heraldic  and 
other  decorations  on  the  entry  of  the  Duke  and 
Duchess,  May  6,  1472,  and  escutcheons  when  the 
body  of  Duke  Philip  lay  in  state  for  the  night  in 
242 


the  church  of  S.  Pharaildis,  on  its  translation  frona 
Bruges  to  Dijon.  Van  Mander  tells  us  that  Hugh 
fell  violently  in  love  with  a  daughter  of  James 
Weytens,  a  burgher,  who  lived  in  a  house  near  the 
Ter  Muyde  bridge,  and  that  he  painted  on  the 
wall  above  the  fireplace  her  portrait  as  Abigail 
coming  with  five  handmaids  to  meet  David  after 
the  death  of  Nabal.  Both  Luke  De  Heere  and 
Van  Mander  extol  the  beauty  of  the  female  figures. 
This  story  may  be  true  or  a  mere  invention  of  the 
poet ;  at  all  events,  there  is  no  evidence  that  Hugh 
was  ever  married.  In  1476  he,  following  the 
example  of  his  brother  Nicholas,  entered  the 
monastery  of  the  Austin  canons  at  Roodenolooster, 
near  Brussels.  One  of  the  canons,  who  was  a 
novice  about  the  same  time  as  Van  der  Goes,  re- 
lates in  his  chronicle  of  the  house  that  numbers  of 
people  of  rank,  including  the  Archduke,  came  to 
see  the  painter  and  admire  his  pictures.  In  1478 
he  was  sent  to  Louvain,  at  the  request  of  the 
magistrates  of  that  town,  to  value  a  painting  which 
Dirk  Bouts  had  left  Unfinished.  Worry  as  to 
whether  lie  would  be  able  to  complete  the  pictures 
he  had  contracted  to  paint,  and  which  it  is  said 
would  have  taken  him  nine  years  to  execute, 
brought  on  a  fit  of  melancholy.  In  1481-82  he 
went  with  his  brother  Nicholas,  a  canon  named 
Peter,  and  others  to  Cologne,  and  on  his  journey 
back  he  was  seized  with  a  violent  fit  of  madness, 
but  after  a  time  recovered.  He  died  in  1482,  and 
was  buried  in  the  cloister.  The  most  remarkable 
of  his  paintings  that  have  come  down  to  us  are: 
1.  A  triptycli,  painted  by  onler  of  Thomas  Portinari, 
the  agent  of  the  Medici  at  Bruges,  for  the  Hospital 
of  Our  Lady  at  Florence.  The  middle  picture  re- 
presents the  'Adoration  of  the  Shepherds';  on  the 
shutters  are  the  portraits  of  the  donor,  his  two 
Sons,  wife  and  daughter,  protected  bySS.  Matthew, 
Anthony,  Margaret,  and  Mary  Magdalene ;  the 
figures  are  nearly  life-size.  2.  '  The  Death  of  the 
Blessed  Virgin,' in  the  Museum  at  Bruges.  3.  'The 
Adoration  of  the  Shepherds '  ;  on  each  side  is  a 
life-size  half-length  figure  of  a  prophet  drawing 
aside  a  curtain.  In  the  Berlin  Museum.  4.  Tlie 
shutters  of  an  altar-piece,  with  kneeling  figures  of 
James  III.,  King  of  Scotland,  his  queen,  Margaret 
of  Denmark,  and  his  brother  Alexander,  Duke  of 
Albany,  protected  by  St.  Andrew  and  St.  Canute, 
and  on  the  exterior  the  Blessed  Trinity,  two  angels 
playing  an  organ,  and-  the  provost  of  Trinity 
Church,  Edinburgh,  kneeling  in  adoration ;  the 
figures  of  the  royal  personages  were  not  painted 
from  life.  Holyrood  Palace,  Scotland.  Another 
celebrated  altar-piece,  representing  'The  Deposi- 
tion of  Christ,'  painted  for  James  Biese,  of  Bruues, 
long  aflOrned  the  high  altar  in  the  church  of  St. 
James,  bat  disappeared  from  the  church  after  1770. 
A  small  triptych,  representing  '  The  Adoration  of 
the  Magi '  and  the  donor,  a  canon,  protected  by  St. 
Stephen,  with  '  The  Annunciation '  on  the  exterior, 
in  the  Liechtenstein  Gallery  at  Vienna,  and  many 
other  paintings,  are  attributed  to  him.  It  is  thought 
that  the  figures  of  the  donor  and  his  wife  on  the 
dexter  shutter  of  a  triptych  by  Dirk  Bouts,  in  the 
cathedral  at  Bruges,  representing 'The  Martyrdom 
of  St.  Hippolytus,'  were  added  by  Van  der  Goes. 

The  picture  in  the  Glasgow  Gallery  assigiied  to 
Hugh  Van  der  Goes  was  first  attributed  to  him  by 
Sir  W.  Armstrong  in  the  catalogue  of  Nether- 
landish paintings  exhibited  at  the  Burlington  Fine 
Arts  Club  in  1892.  Some  critics  now  believe  it  to 
be  by  the  master  of  the  altar-piece  of  the  Bourbona 


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PAINTERS  AND  ENGRAVERS. 


at  Moulins,  but  the  brilliant  colour  and  technical 
execution  prove  it  to  be  the  work  of  a  master  of 
the  Netherlandish  School,  though  perhaps  settled 
in  France.  The  donor  is  a  layman,  some  prince 
who,  as  the  descendant  of  a  founder  of  a  collegiate 
church,  had  tlie  privilege  of  wearing  a  cope  and 
sitting  in  the  canons'  stalls.  He  is  protected 
by  St.  Victor  or  St.  Maurice,  a  clue  which  may 
lead  to  tlie  identification  of  the  donor  and  ulti- 
mately to  that  of  the  painter.  Meanwhile  this 
interesting  picture  bears  for  the  preeent  the  name 
of  Hugh  Van  der  Goes,  although  I  cannot  accept 
it  as  his  work. 

W.  H.  J.  W. 

VAN  DER  GOUWEN,  Willem,  a  Dutch  en- 
graver, was  a  native  of  Amsterdam  and  flourished 
early  in  tlie  18th  century.  We  liave  by  him  an 
indifferent  set  of  Bible  prints,  published  in  that 
city  in  1720,  after  the  designs  of  Picart  and  others. 
He  also  engraved  some  ornamental  frontispieces, 
&c.,  for  the  booksellers.  'The  Whale  cast  upon 
the  Dutch  Coast  in  1598'  should  also  be  specially 
noticed  among  his  plates. 

VAN  DEK  GRACHT,  Jakob,  a  Flemish  painter 
and  engraver,  was  born  at  Lierre  (?)  in  1593. 
Raphael  Coxie  was  his  master.  He  spent  some 
years  in  Italy,  under  the  protection  of  the  Spanish 
Viceroy  at  Naples.  He  is  chiefly  known,  however, 
by  his  'Anatomy  for  Artists,'  published  at  the 
Hague  in  1634.  An  excellent  portrait  by  hira  is 
in  the  Weimar  Collection.  He  died  at  the  Hague 
in  1647. 

VAN  DER  GUCHT,  Benjamin,  portrait  painter 
and  picture-dealer,  was  the  only  son  of  Jolm  van 
der  Gucht,  the  engraver.  Benjamin  was  a  student 
at  the  school  in  St.  Martin's  Lane,  and  afterwards 
at  the  Royal  Academy.  He  painted  many  portraits 
of  actors,  among  them  those  of  David  Garrick, 
as  steward  of  the  Stratford  Jubilee,  and  of  Wood- 
ward the  Comedian,  now  in  the  Lock  Hospital. 
He  also  painted  scenes  from  popular  plays,  but  in 
1786  he  relinquished  painting  for  picture-dealing, 
picture-cleaning,  and  repairing.  Ho  was  drowned 
in  the  Thames,  near  Chiswick,  September  21  st, 
1794. 

VAN  DER  GUCHT,  Gerard,  an  elder  son  of 
Michiel  van  der  Gucht,  was  born  in  1696  (or  1695). 
He  was  the  pupil  of  Louis  Cherun,  and  was 
principally  employed  by  the  booksellers,  for  whom 
he  engraved  a  great  number  of  portraits  in  small, 
chiefly  after  Kneller.  Later  in  life  he  became  a 
dealer,  founding  a  "  Gallery "  in  Lower  Brook 
Street.  He  was  employed  by  Sir  Hans  Sloane. 
He  died,  tlie  father  of  thirty  children,  in  1776.  We 
have  by  him,  among  others,  the  following  portraits  : 

John  Tillotson.  Archbishop  of  Canterbury;  after  Kneller. 

John  Milton,  Poet ;  three  plates. 

John  Dryden,  Poet ;  after  Kneller. 

John  Hughes,  Poet ;  after  the  same. 

John  Philips,  Poet ;  after  the  same. 

Colley  Gibber,  Poet  and  Actor  ;  after  Van  Loo. 

Charles  Jervas,  Painter. 

The  Hour  Seasons  ;  after  Coypel. 

VAN  DER  GUCHT,  John,  a  younger  son  of 
Michiel  van  der  Gucht,  was  born  in  London  in 
1697,  and  was  taught  engraving  by  his  father. 
He  also  studied  under  Louis  Cheron.  He  died  in 
1776.  He  engraved  six  academical  figures,  from 
the  drawings  of  Charon,  which  were  much  ad- 
mired ;  and  was  employed  by  William  Cheselden, 
the  surgeon,  to  engrave  the  plates  for  his  '  Oste- 
ology,' for  which  he  is  highly  commended  in  the 
preface  to  that  work.  He  also  had  a  share  in  the 
E2 


plates  after  Sir  James  Thornhill's  pictures  in  the 
Cupola  of  St.  Paul's.  There  is  a  print  by  him  of 
'Tancred  and  Erminia,'  after  N.  Poussin.  He  is 
stated  to  have  excelled  as  a  caricaturist.  We 
have  also  by  him  the  following  portraits  : 

John  Ker,  of  Kersland  ;  affixed  to  his  Memoirs ;  after 
Hammond. 

■William  King,  LL.D. ;  prefixed  to  his  works. 

John  Dennis,  critic. 

VAN  DER  GUCHT,  Michiel,  a  Flemish  en- 
graver, was  born  at  Antwerp  in  1660,  and  was 
first  a  pupil  of  one  of  the  Boutats,  but  came  early 
to  England,  ami  studied  under  David  Loggan. 
Here  he  met  with  considerable  encouragement, 
and  remained  till  death.  He  was  chiefly  employed 
by  the  booksellers,  and  engraved  many  of  the  por- 
traits for  Clarendon's  '  History.'  He  also  engraved 
anatomical  figures,  and  a  large  print  of  the  '  Royal 
Navy,'  after  Baston.  He  was  the  master  of  Vertue. 
Walpole  calls  him  Vandergutch.  He  died  in 
Bloomsbury,  October  16tli,  1725,  and  was  buried 
in  St.  Giles's  churchyard.  The  following  portraits 
by  him  may  be  named  : 

Queen  Elizabeth  ;  after  Sir  Antonio  Mor. 

Sir  Josiah  Child  ;  after  Riley. 

J.  Savage  ;  prefixed  to  his  History  of  Germany  ;  after 
Foster  ;  his  best  work. 

James  Stanley,  Earl  of  Derby  ;  after  Winstanley. 

Francis  Atterbury,  Bishop  of  Rochester  ;  after  Kneller. 

William  Congreve,  Poet ;  after  the  same. 

Joseph  Addison,  Poet ;  after  the  same. 

Thomas  Betterton,  Actor  ;  after  the  same. 

VAN  DER  HAERT,  Henri,  painter  and  sculptor, 
was  born  at  Louvaiii  in  1794.  He  studied  in  the 
Academy  of  Ghent,  and  afterwards  under  Jacquin 
and  David.  He  was  successful  in  portraiture,  and 
in  1841  he  became  a  director  of  the  Ghent  Academy, 
which  he  completely  reorganized.  He  died  at 
Ghent  in  1846.  The  'Museum  of  that  city  possesses 
a  'Dismissal  of  Hagar  '  by  him. 

VAN  DER  HAGEN,  George,  born  between 
1615  and  1620  at  tlie  Hague;  married  Magdalene 
Tymans  ;  was  at  Amsterdam  in  1650  and  1657,  and 
painted  in  collaboration  with  Bercliem  ;  in  1649-53 
was  Commissary  of  St.  Luke's  Guild  ;  painted  sunny 
landscapes,  Dirk  Wijntrack  added  ducks  and  geese 
in  some.  His  son  Cornelius  worked  under  him 
and  John  Post  as  a  landscape  painter,  1670-71. 

Hague.      Ilauritshtiis.     View  near  Arnhem.     1649. 
„  „  The  Rhine  Gate,  Arnhem. 

Paris.  Louvre.     Village  in  a  Plain,  with  a  Sports- 

man and  Dogs.     1(3G0. 

VAN  DER  HAGEN,  Johann,  a  Dutch  marine 
painter,  born  at  the  Hague  early  in  the  18th  cen- 
tury. He  migrated  to  London,  and  finally  settled 
in  Ireland.  In  his  latter  years  his  improvidence 
brought  him  to  want,  and  he  died  in  Dublin 
about  1770. 

VANDERHAMEN  t  LEON,  Juan  de,  the  son 
of  a  Flemish  archer  of  the  guard,  was  born  at 
Madrid  in  1596.  His  father  amused  his  leisure 
with  flower  painting,  in  which  he  instructed  his 
son.  The  latter  married  a  Castilian  wife,  Eugenia 
de  la  Herrera,  and  adopted  painting  as  a  profes- 
sion. On  the  death  of  Gonzales  in  1627  he  was 
an  unsuccessful  candidate  for  the  vacant  post  of 
painter  to  the  king.  In  conjunction  with  Eugenio 
Caxes,  Vanderhamen  painted  several  scenes  from 
the  infancy  of  Christ  for  the  Convent  of  the  Holy 
Trinity  at  Madrid,  as  well  as  six  scenes  from  the 
Life  of  Christ  for  the  Carthusians  of  Paular.  In 
these  subjects  his  style  was  dry  and  harsh ;    but 

243 


A   BIOGRAPHICAL  DICTIONARY  OF 


liis  portraits  were  agreeable.  His  chief  merit  was 
displayed  in  kitclien-pieces,  of  wliich  aa  excellent 
example  is  in  the  Gallery  at  Madrid.  He  died 
in  1632. 

VAN  DER  HBCKE,  Maeten  Heemskerk,  was 
the  son  and  pupil  of  Nicolas  van  der  Heoke.  He 
painted  landscapes  with  ruins,  but  never  rose  above 
mediocrity. 

VAN  DER  HECKE,  Nicolas,  son  of  Dirk,  was 
born  at  the  Hai^ue  about  the  year  1580,  and  was  a 
scholar  of  Jan  Naghel,  and  a  relative  of  Marten 
Heemskerk.  He  painted  history  and  landscapes, 
but  excelled  chiefly  in  the  latter.  Of  las  historical 
works,  the  most  important  are  three  large  pictures 
in  the  town-hall  at  Alkinaar  :  the  '  Decapitation  of 
a  Magistrate,  for  an  act  of  oppression  towards  a 
Peasant ' ;  the  '  Punishment  of  Cambyses  '  ;  and  the 
'Judgment  of  Solomon.'  He  worked  at  Alkmaar 
from  1616  to  1650,  and  was  one  of  the  founders 
of  the  St.  Luke's  Guild  in  that  town  in  the  year 
1631.  He  died  in  1658.  The  Dresden  Gallery 
has  two  alehouse  interiors  by  him,  and  the 
Amsterdam  Museum  views  of  the  Castle  and  Abbey 
of  Egmont.  „       „ 

VAN  DER  HEIJDEN,  Jan.  See  Van  deb 
EiJDEN  and  Van  der  Hetden. 

VAN  DER  HELST,  Bartholomeus,  portrait 
painter,  was  born  at  Haarlem  in  1611  or  1612. 
Tlie  registers  of  Haarlem  have  been  searched  in 
vain  for  the  exact  date  of  his  birth.  It  is  sup- 
posed that  Nic.  Elias  was  his  instructor,  and  tliat 
he  was  further  influenced  by  Frans  Hals.  He 
settled  at  Amsterdam  while  still  very  young,  and 
lived  there  for  the  greater  part  of  his  life.  In  1636 
he  married  Constantia  Reinst,  a  young  girl  of  good 
family,  who  was  famous  for  her  beauty  and  wit. 
He  was  a  foundation  member  of  the  Painters' 
Guild  (1654).  He  occasionally  painted  civic 
scenes  and  shooting  pieces,  but  bis  better  known 
and  more  numerous  works  are  portraits  and 
portrait  groups,  often  of  civic  officers  or  archer 
guards.  He  has  been  called  a  reahst  whose  works 
were  scarcely  pictures,  and  sometimes  the  criticism 
is  not  without  foundation.  His  best  pictures 
are  apt  to  lack  what  the  French  call  enveloppe. 
They  have  little  unity  or  subordination,  while  they 
are  often  cold  in  colour.  The  strength  of  his  work 
lies  in  its  robust  simplicity  of  conception,  in  its 
vigorous  solidity  of  method,  and  in  its  unfailing 
carefulness.  Van  der  Heist  died  at  Amsterdam, 
December  16,  1670.     Pictures: 

The  Banquet  of  the  Civic  Guard 
on  Juue  18,  164S,  iu  celebra- 
tion of  the  conclusion  of 
peace  with  Spain.  1648.  (His 
most  famous  picture.) 
The  Heads  or  '  Umpires  '  of  the 
Brotherhood  of  St.  Sebastian, 
Amsterdam.  1663. 
The  Company  of  Captain  Roelof 
Bicker  and  Lifut.  J.  M.  Blau, 
before  a  tavern  in  Amster- 
dam.    1639. 

Portrait  of  the  Princess  Maria 
Henrietta  Stuart. 
(Jnd  eleven  others.) 

The  Marksmen.     16.56. 

Conversation-piece.     1650. 

Portrait  of  Paul  Potter. 

Portrait  of  a  Lady  in  Blue. 

(?)  Portrait  of  a  Lady. 

Two  Portraits. 

Music. 

Smaller  repetition  of  the  above 
picture, '  The  Umpires.'  1688. 


Rotterdam.  Museum.  Portrait  of  a  Protestant  Divine ; 
signed  and  dated  1633,  pro* 
hably  ki^  earliest  work.  (Avd 
four  others.) 

VAN  DER  HELST,  Lodewijk,  painter,  was  the 
son  of  Bartholomeus  van  der  Heist.  He  was  bom 
at  Amsterdam  in  1645,  and  became  the  pupil  of  his 
father.  He  practised  in  Amsterdam,  where  he  died 
after  1680.     "Works: 

Amsterdam.  R.  Museum.    Portrait  of  Admiral  Stelling- 
werf. 
„  „  Portrait  of  Adrians  Hinlopen. 

VAN  DER  HEYDEN,  Jan,  (or  Van  deb  H  kijden,) 
was  born  at  Qorinchem  (Gorcum)  in  1637.  His 
only  instruction  consisted  of  a  few  desultory  lessons 
received  from  an  unknown  glass-painter ;  but 
his  natural  genius  soon  discovered  itself  in  very 
correctly  finished  drawings  of  ruins  and  buildings. 
He  next  attempted  similar  subjects  in  oil,  and  suc- 
ceeded still  better.  He  travelled  in  Germany,  Bel- 
gium, and  England,  painting  in  Cologne,  Brussels, 
London,  and  other  places.  He  died  at  Amsterdam, 
September  28, 1712.  The  chief  pictures  of  Van  der 
Heyden  represent  picturesque  spots  in  Dutch  towns, 
particularly  in  Amsterdam.  Although  he  paints 
each  individual  brick  or  stone  in  his  buildings, 
there  is  nothing  hard  or  dry  in  his  pictures ;  his 
handling  is  dexterous  and  light,  and  his  colour 
warm  and  luminous.  His  pictures  are  generally 
furnished  with  figures  by  Adriaan  van  de  Velde. 
After  the  death  of  Adriaan,  Van  der  Heyden  got 
Lingelbacli  and  Eglon  van  der  Neer  to  perform  the 
same  office  for  him.  We  have  a  few  original 
etchings  by  this  painter ;  he  had  also  a  secret  for 
printing  pictures.  These  were  stamped  in  oil 
colours  on  parchment  and  afterwards  retouched. 
The  following  pictures  by  Van  der  Heyden  may  be 
named : 


Amsterdam.       Museum. 


Hague. 
London. 

«^ 
Munich. 
New  York. 
Paris. 


Toirn-hall. 
Workhouse. 
Gdlfery. 
Nat.  Gallery. 
)» 
Gallery. 
Museum. 
Louvre. 


Amsterdam.  E.  Musnim. 
Brunswick.  Gallery. 

Brussels.  Arenbury  Coll. 
Cassel.  Gallery. 

Copenhagen.  „ 

Dresden.  „ 

Hague.  Museum. 

Loudon.    National  Gall, 


Bridaeirater  Gall. 
Buckinyliam  Pal. 


Munich. 


Gallery. 


A  Quay  with  Trers. 

A  Landscape  with  old  Castle. 

The  Quay  of  Amsterdam. 

A    Palace    in    Brussels   with 

Dutch  Flower  Garden,  &c. 
View  of  a  Chateau. 
View  of  a  Convent. 
(And  three  others.) 
View  in  a  Dutch  Town. 
Street  in  Cologne. 
An  Architectural  Group, 
Landscape. 
Street  in  a  Town. 
View  in  a  Dutch  Town. 
Dutch  House  by  a  Canal. 
View  in  a  Dutch  Town. 
A  Square. 
Duke     of     Brabant's     Palace, 

Brussels. 
The  Town  Hall  of  Amsterdam. 
Village  by  a  River. 
Dutch  Canal  and  Street. 
Mountain       Landscape       with 

Town. 
Old     Castle     surrounded     by 

Water. 

Tliere  was  also  a  jAN  van  der  Heyden  the 
younger,  of  whom  little  is  known. 

VAN  DER  HEYDEN,  Jakob,  engraver,  was 
born  at  Strasburg  about  1570  and  died  in  1637. 
At  tlie  beginning  of  the  17th  century  he  was  living 
at  Frankfort,  where  he  engraved  a  number  of  small 
pictures  of  churches,  an  'Iflterior  of  Strasburg 
Minster' among  tliem. 

VAN  DER  HORST,  Gerard,  a  Dutch  draughts- 
man and  painter  of  landscapes  and  marines,  who 


Paris.  Louvre. 

Petersburg.    Hermitaye. 


Vienna. 


Gallery. 


244 


PAINTERS  AND  ENGRAVERS. 


flourished  in  the  17th  century.     Jan  van  de  Velde 
engraved  after  him. 

VAN  DER  HORST,  Nicolas,  was  bom  at  Ant- 
werp in  1598,  and  was  educated  in  the  school  of 
Rubens.  He  afterwards  travelled  through  Ger- 
many, France,  and  Italy,  and  on  his  return  to  the 
Netherlands  established  himself  at  Brussels,  where 
he  was  not  unsuccessful  as  a  painter  of  history 
and  portraits.  The  Archduke  Albert  favoured  him, 
and  appointed  him  to  his  household.  He  died  at 
Brussels  in  1646.  Several  of  his  drawings  for 
booksellers  are  extant,  and  his  '  Sacrifice  of  Jeph- 
thah  '  was  in  the  Siiermondt  Collection.  He  painted 
a  portrait  of  Marie  de'  Medici,  which  Vostermann 
engraved.     He  signed  with  the  initials  N.  V.  II. 

VAN  DER  HULST,  Jan  Baptist,  was  horn  at 
Louvain  in  1790,  and  first  studied  under  Geedts  at 
Ghent,  after  which  he  visited  Paris,  Rome,  Naples, 
&c.  He  settled  at  the  Hague,  became  court-painter 
to  Willem  I.  of  the  Netherlands,  and  was  elected 
a  member  of  the  Amsterdam  Academy.  His  work 
was  at  first  confined  to  historical  subjects  and  altar- 
pieces,  but  at  a  later  period  he  took  to  portraits, 
which  he  sometimes  lithographed.  He  died  at 
Brussels  in  1862.  In  the  Amsterdam  Museum 
there  are  by  him  the  portraits  of  Willem  I.  and  of 
his  Queen. 

VAN  DER  HULST,  Pieter,  the  elder,  a  Dutch 
painter,  who  flourished  in  the  first  half  of  the  17th 
century,  was  a  pupil  of  Van  Goyen.  His  works 
consisted  of  landscapes  with  figures  ;  among  them 
are : 

Brunswick.  Galle)n/.     A  Church  Consecration.     1628. 

Frankfort.     Stddel  Inst.     Dutch  Vill.Tge  with  Kiver.  1052. 

VAN  DER  HULST,  Pieter,  a  Dutch  painter, 
born  at  Dordrecht  in  1662.  He  was  at  first  a  pupil 
of  W.  Doudyns,  but  from  1674  he  studied  under 
Mario  Nuzzi,  at  Rome,  where  he  attempted  liis- 
torical  painting,  but  without  success.  He  after- 
wards painted  flowers,  fruit,  and  reptiles,  in  the 
style  of  Nuzzi.  Ultimately  he  settled  at  tlie 
Hague.  He  was  called  '  Tournesol '  or  '  Solsiffe,' 
because  he  generally  painted  a  sunflower  in  his 
pictures.  His  manner  of  painting  was  rather  Italian 
than  Dutch.     He  died  in  1701. 

VAN  DER  JAGT,  Martinus,  draughtsman  and 
painter,  was  born  at  Haarlem  in  1747.  He  was  a 
pupil  of  J.  H.  Jelgersma  and  Jan  Punt,  and  painted 
animals  somewhat  in  the  style  of  Hondecoeter. 
He  also  painted  sea-pieces.  He  died  at  Zeist  in  1 805. 

VAN  DER  JEUGHT.  Jan  Jozef,  a  Flemish 
painter  of  history  and  portraits,  who  flourished  at 
Antwerp  in  the  18th  century.  In  1771  he  was 
director  of  the  Antwerp  Academy. 

VAN  DER  KABEL,  Adeiaan,  or  Arie,  (or  Van 
DER  Cabel,)  originally  Van  der  Toow,  jiainter  and 
etcher,  was  born  at  Ryswick,  near  the  Hague,  in 
1631.  He  was  a  scholar  of  Van  Goyen.  Leaving 
home  to  visit  Italy,  he  stopped  at  Lyons,  where 
his  works  were  so  much  admired,  and  so  liberally 
paid  for,  that  he  was  induced  to  settle  in  that  city. 
This  took  place  not  later  than  1669,  for  in  that 
year  he  married  one  Susanne  Bourgeois,  at  Lyons. 
He  painted  landscapes  with  figures  and  cattle,  and 
views  of  sea-ports.  He  appears  to  have  sometimes 
imitated  the  style  of  Benedetto  Castiglione  and 
Salvator  Rosa,  at  others  that  of  the  Carracci  and  P. 
F.  Mola.  His  pictures  are  very  unequal,  as  his 
life  was  irregular  and  dissolute.  Descamps  says 
he  did  not  visit  Italy,  but  there  is  a  tradition  that 
he  was  known  in  Rome  by  the  nicknames  of 
'Corydon'  and  '  Geestigkeit.'     He  died  at  Lyons 


in  1705.     A  landscape  by  him,  signed,  and  dated 
1652,   is  in  the  Munich  Pinakothek ;    and  in  the 
Lyons  Museum  there  is  a  sea-piece.     Van  der  Cabel 
has  left  the  following  etchings  : 
A  set  of  six  Landscapes,  i\ith  figures  and  buildings. 
Anotiier  set  of  thirty  Landscapes  and  Marines. 
A  set  of  four  mountainous  Landscapes,  with  figures ; 

inscribed  A.  vander  Cabel  fecit.     N.  Rulert  exc. 
Two  large  Landscapes,  with  figures. 
A  large  upright  Landscape,  with  8t.  Bruno:  the  figure 
is  engraved  with  a  single  stroke,  in  the  manner  of 
Mellan. 
Another,  its  companion,  with  St.  Jerome. 

VAN  DER  KAPPEN,  Frans,  a  Flemish  painter, 
was  born  in  1660,  at  Antwerp.  He  died  in  1723, 
and  nothing  is  known  of  his  life  beyond  the  bare 
fact  that  he  travelled  in  Italy. 

VAN  DER  KOOGEN,  Leendert,  painter,  was 
born  at  Haarlem  in  1610.  His  parents  were  in 
affluent  circumstances  ;  and  on  his  discovering  an 
inclination  for  art,  sent  him  to  Antwerp,  where 
he  became  a  scholar  of  Jacob  Jordaens.  On  his 
return  to  Holland,  his  first  eft'orts  were  in  history, 
but  becoming  acquainted  with  Cornelis  Bcga,  he 
quitted  that  for  conversations,  boors  regaling,  and 
other  things  in  the  style  of  Bega.  He  entered  the 
Haarlem  Guild  in  lii52,  and  liied  in  that  city  in 
1681.  His  works  are  little  known  out  of  his  own 
country.  Van  der  Koogen  has  left  several  etchings, 
some  of  whicli  are  in  the  style  of  Salvator  Rosa. 
We  may  name  the  following : 

A  set  of  six  prints  of  Soldiers ;  in  three  series,  dated 
1664,  1665,  and  1666. 

A  set  of  four,  representing  Apollo  and  tho  Muses ;  the 
Battle  of  the  Giants  ;  a  Sacrifice  near  a  Tomb ;  and 
a  Standard-bearer,  with  Soldiers. 

Another  set  of  four  ;  a  Female  Head,  1664 ;  an  Ecce 
Homo,  1664  ;  St.  Sebastian,  1665 ;  and  two  Men  play- 
ing at  Tric-trac. 

VAN  DER  KOOGH,  Adrianus,  painter,  was 
bom  at  Middelharnis  in  1796,  and  died  at  Dor- 
drecht in  1831.  The  Rotterdam  Museum  has  a 
landscape  by  him. 

VAN  DER  KOOI,  Willem  Bartel,  was  born  at 
Augustinusga,  in  Friesland,  in  1768.  He  studied 
under  J.  Verrier,  at  Leeu warden,  and  under  Beek- 
kerk,  and  in  1798  became  teacher  of  drawing  at  tho 
Academy  at  Franeker,  where  he  remained  till  its 
dissolution  in  1811.  In  1808,  he  won  a  prize  of 
2000  florins  at  the  Amsterdam  Exhibition,  for  his 
picture  of  a  '  Lady  with  a  Servant  handing  her  a 
Letter.'  After  this  he  resumed  study  at  Dussel- 
dorf  after  Van  Dyck.  He  was  correspondent  of 
the  Netherlands  Institute,  and  a  member  of  the 
Academies  of  Amsterdam,  Antwerp,  and  Ghent. 
He  died  at  Leeuwarden  in  1836.  Seven  portraits 
by  him  are  in  the  Amsterdam  Museum. 

VAN  DER  KRYNS,  (or  Kryns  van  deb  Maes,) 
Evrard,  a  Dutch  painter  of  the  17th  century,  was 
a  pupil  of  van  Mander.  He  was  received  into  the 
Painters'  Guild  at  the  Hague  in  1604,  but  worked 
for  the  greater  part  of  his  life  in  Italy  and  other 
foreign  countries.  The  Hague  archives  speak  of 
him  also  as  a  glass  painter.  The  windows  in  the 
Frederiksborg  Chapel,  Copenhagen,  which  were 
destroyed  in  the  tire  of  1859,  were  by  him. 

VAN  DER  KUYL,  Gysbebt,  a  Dutch  painter, 
bom  at  Gouda  at  the  beginning  of  the  17th  century. 
He  was  a  pupil  of  Wouter  Crabeth  the  younger, 
and  also  spent  twenty  years  in  France  and  Italy. 
His  manner  shows  the  influence  of  Honthorst  and 
Abraham  Bloemaert.  He  died  at  Gouiia  m  1673.  The 
Amsterdam  Museum  possesses  two  of  his  works. 

245 


A  BIOGRAPHICAL  DICTIONARY  OF 


VAN  DEE  LAAK,  Maria,  a  Dutch  painter,  who 
worked  at  the  Hague  about  the  middle  of  the  17th 
century,  and  died  there  iu  1664. 

VAN  DER  LAAN,  Adriaan,  a  Dutch  engraver, 
was  bom  at  Utrecht  about  tlie  year  1690.  He 
resided  some  time  in  Paris,  where  he  worked  for 
the  printsellers.  His  most  important  performance 
is  a  set  of  landscapes  after  J.  Glauber.  He  also  en- 
graved a  portrait  of  Laurens  Coster,  of  Haarlem, 
to  whom  the  Dutch  attribute  the  invention  of  print- 
ing, and  Some  plates  after  Van  der  Meulen.  He 
was  still  living  in  1742. 

VAN  DER  LAAN,  Dirk,  a  Dutch  painter,  and 
pupil  of  Frans  Floris,  who  flourished  in  the  16th 
century,  and  painted  history  in  small. 

VAN  DER  LAjVIEN.     See  Van  der  Lanen. 

VAN  DER  LANEN,  Christoffel  Joan,  or 
Jacobsz,  (Laenen,  Lamen,)  a  Flemish  painter,  is 
supposed  to  have  been  born  at  Antwerp  about 
the  year  1570.  He  is  believed  to  have  been  a 
pupil  of  Frans  Francken  the  younger.  He  was 
working  at  Antwerp  about  1620,  whilst  one  of  his 
pictures  is  dated  as  late  as  1638.  He  painted  con- 
versations and  riotous  subjects,  some  of  them  not 
very  decent.  The  picture  bearing  the  above  date 
represents 'Two  Ladies  playing  at  Draughts.'  A 
'  Ball  at  Antwerp '  by  him  is  in  the  Copenhagen 
Gallery.     He  died  in  1651  or  1652. 

VAN  DER  LEEPE,  Jan  Anthonie,  painter, 
came  of  an  opulent  family,  originally  uf  Brussels, 
which  city  his  parents  left  on  account  of  the 
troubles  in  Brabant,  to  settle  at  Bruges,  where  our 
artist  was  born  in  1664.  He  painted  sea-pieces, 
both  in  calm  and  storm,  and  landscapes  in  the  style 
of  Gaspar  Poussin.  These  were  generally  fumislied 
with  tigures  by  his  fellow-townsmen,  Duvenede 
and  Kerkhove.  Van  der  Leepe  was  appointed 
Comptroller-General  of  Flanders  by  the  Emperor. 
In  1713  he  became  councillor  at  Bruges,  and  in 
1716  "Echevin."  He  died  March  17,  1718.  His 
chief  pictures  are  : 

Bruges.  St.  Anne.    Flight  into  Egypt. 

„  St.  James.     Christ's  entry  iuto  Jerusalem. 

The    figures    in    tliese    two 
pictures  by  John  Kamont. 
Versailles.        Mtiseum.     Four  landscapes.      w.  H.  J.  W. 

VAN  DER  LEEUW,  Gabriel,  (or  Gabbiele 
Leone,)  was  born  at  Dordrecht  in  1643.  He  was 
the  son  of  Sebastiaan  Van  der  Leedw,  a  painter  of 
landscapes  and  animals,  who  had  been  a  scholar 
of  Jacob  Gerritz  Cnyp.  In  a  short  time  Gabriel 
greatly  surpassed  his  father,  when  he  went  to 
Amsterdam,  and  there  formed  an  acquaintance  with 
David  van  der  Plaas,  with  whom  he  set  out  to 
visit  Italy.  Passing  through  France  he  stopped 
four  years  at  Paris,  and  two  at  Lyons.  On  his 
arrival  at  Rome,  he  studied  Benedetto  Castig- 
lione  and  Rosa  da  Tivoli,  and  painted  landscapes 
with  cattle  in  their  stj'les.  After  a  residence  often 
years  in  Italy  he  returned  to  Holland,  where  after 
a  time  he  lost  his  popularity  and  projected  a 
return  to  Italy.  But  going  to  Dordrecht,  for 
the  arrangement  of  some  family  affairs,  he  there 
died  suddenly  in  1688.  Gabriel  van  der  Leeuw 
etched  several  plates  in  the  style  of  Castiglione 
and  H.  Roos.  When  in  Italy  he  signed  these 
G.  Leone  (Italian  of  Leeuw,  a  lion),  which  has  led 
to  the  invention  of  an  apocryphal  Giovanni, 
Giibriele,  or  Guglielmo  Leone.  In  the  Edinburgh 
National  Gallery  is  a  landscape  with  figures  by 
him,  dated  1674. 

VAN  DER  LEEUW,  Pieter,  a  native  of  Dor- 

246 


drecht,  was  a  younger  eon  of  Sebastiaan  van  der 
Leeuw.  He  studied  for  some  time  under  his  father, 
but  subsequently  became  an  indefatigable  imitator 
of  Adriaan  van  de  Velde.  It  is  said  that  he  never 
painted  without  one  of  that  master's  pictures  by  his 
side.  He  entered  the  '  Kunstgenootschap '  in  1669, 
and  in  1678  he  was  made  director.  He  died  in 
1704.  Several  of  Van  der  Leeuw's  best  works  are 
in  the  galleries  of  Rotterdam  and  Munich. 

VAN  DER  LEDR,  Nicolaas,  was  born  at  Breda 
in  1667.  After  studying  art  for  a  time  in  his 
native  country,  he  went  to  Italy  when  young, 
and  passed  some  years  at  Rome.  On  his  return  to 
Holland  he  acquired  some  reputation  as  a  painter 
of  history  and  portraits.  His  chief  work  is  the 
principal  altar-piece  in  the  church  of  the  Recolets, 
at  Breda.     He  died  about  1726. 

VAN  DER  LINDEN,  Moritz,  a  Dutch  painter 
of  the  17th  century.  He  was  a  pupil  of  Caspar 
Netscher,  and  showed  talent  as  a  painter  of  por- 
traits and  genre.  He  had,  however,  a  more  decided 
turn  for  engineering,  and  entering  the  service  of 
the  States-General  as  engineer,  he  abandoned  art. 

VAN  DER  LISSE,  Dirhk,  painter,  flourished  at 
the  Hague  about  the  middle  of  the  17th  century. 
He  entered  the  Guild  of  St.  Luke  in  1644,  helped 
to  found  the  new  Guild  in  1656,  was  burgomaster 
in  1660,  and  died  in  1669.  Between  him  and  Van 
der  Lys  there  seems  to  have  been  some  confusion. 
Dirck  made  use  of  a  monogram  composed  of  a  D, 
an  L,  and  a  stroke  which  may  stand  for  J  or  I  or  a 
part  of  V.  There  is  a  picture  by  him  in  the  Munich 
Gallery. 

VANDERLYN,  John,  painter,  was  horn  at  Kings- 
ton in  America,  in  1776.  He  studied  in  France, 
and  on  his  return  to  his  own  country,  attracted 
attention  by  some  clever  pen-and-ink  copies  of 
engravings.  After  some  further  study  at  Washing- 
ton, where  he  became  known  by  his  picture  of 
'  Niagara  Falls,'  and  some  creditable  portraits,  he 
returned  to  France,  and  coming  under  the  influence 
of  Vincent,  began  to  paint  historical  pictures.  His 
'  Landing  of  Columbus,'  now  in  the  Capitol  at 
Washington,  was  of  this  period.  From  Paris  he 
went  to  Italy,  where  he  painted  '  Marius  among 
the  Ruins  of  Carthage,'  for  which  he  received  a 
gold  medal  from  Napoleon  I.  in  1807.  After  his 
re-establisliraent  in  America  in  1815,  he  executed 
panoramas  of  Paris,  Athens,  Mexico,  and  Geneva, 
which  were  exhibited  in  many  of  the  States  with 
much  success.  He  also  painted  portraits  of  Madi- 
son, Monroe,  Washington,  Calhoun,  and  Jackson. 
He  died  at  Kingston  in  1852. 

VAN  DER  LYS,  Jan,  or  more  probably  Dirck, 
(Van  der  Lis,  or  Van  der  Lijs,)  was  born  at  Breda 
in  1600,  and  was  a  scholar  of  Cornells  Poelemburg, 
whose  manner  he  imitated  so  well  that  his  pictures 
are  often  attributed  to  that  master.  He  painted 
historical  subjects,  landscapes,  bathing  nymphs,  and 
conversations  ;  some  of  which  he  engraved.  He  is 
supposed  *o  be  identical  with  Giovanni  Lutz,  after 
whom  Mogalli  engraved  '  A  Sacrifice  of  Isaac' 
He  has  also  been  confused  with  Jan  Lis,  called 
'Pa.n  (q.  v.).  He  died  at  Rotterdam  in  1657.  Pictures 
by  him  are  at  Brunswick  and  Copenhagen. 

VAN  DER  MAES,  Koenrad,  a  Dutch  painter, 
flourislied  at  Leyden  towards  the  close  of  the  16th 
century,  and  was  the  master  of  Joris  van  Schooten. 

VAN  DER  MAST,  Herman,  a  Flemish  painter, 
was  born  at  Brielle  about  1550.  He  was  a  pupil 
of  Frans  Floris,  and  after  that  master's  death,  in 
1570,  of  Frans  Francken.     Later  he  worked  for  a 


PAINTERS  AND   ENGRAVERS. 


time  in  Paris,  under  the  patronage  of  the  Arch- 
bishop of  Bourges.  He  is  said  to  have  finally 
settled  at  Delft,  and  to  have  died  there  some  time 
after  1604.  His  skill  was  chiefly  shown  in  the 
realistic  painting  of  details. 

VAN  DER  MEEK,  Barend,  (or  Bernard,)  pro- 
bably a  son  of  the  elder  Jan  van  der  Meer,  was 
born  at  Haarlem  about  1659,  and  painted  still-life 
with  some  success.  Pictures  of  fruit  by  him  are 
in  the  Vienna  Gallery,  and  at  Wiirzburg.  The 
Vienna  picture  is  signed  and  dated  1689. 

VAN  UER  MEER,  Catharina,  probably  a 
daughter  of  Jan  van  der  Meer  tlie  elder,  was  a 
painter  of  conversation  pieces,  in  the  style  of  Caspar 
Netscher.  One  of  her  pictures  is  said  to  be  dated 
1675. 

VAN    DER    MEER,    Gerard.    See    Van    deb 

VAN  DER  MEER,  Jan,  called  Van  der  Meeb,  of 
Delfi'.     Spp  Ver  IVIeer. 

VAN  DER  MEER,  Jan,  the  elder,  (erroneously 
Vermeer,)  was  born  at  Haarlem  in  1628.  He 
was  the  son  of  an  obscure  painter  of  the  same 
name  as  himself  He  entered  the  school  of  Jacob 
de  Wet  in  1638,  and  when  he  was  still  young 
he  visited  Italy,  accompanied  by  Lieven  van  der 
Schuur.  On  his  return  to  Holland  his  pictures 
were  sought  after  with  great  avidity.  He  painted 
landscapes  with  cattle  and  figures,  and  marines. 
His  sea-pieces  are  particularly  good,  the  skies 
light  and  floating,  and  the  water  clear  and  trans- 
parent. He  also  painted  battle-pieces  with  success, 
and  drew  horses  with  great  fire  and  animation.  He 
entered  the  Guild  of  St.  Luke  in  1654,  and  died  at 
Haarlem  in  1691.     Works: 


Berlin. 


Museum.    View  of  Haarlem. 


Gallery. 


Brunswick. 

Dresden. 

Munich.         Finakothek. 

Paris.  Louvre. 

Vienna.  Gsell  Cull. 


Two  Landscapes. 
A  Landscape. 
Two  Forest-scenes. 
Four  Landscapes. 
Entrance  to  an  Inn. 
A  Landscape.     1663. 


VAN  DER  MEER,  Jan,  the  younger,  (errone- 
ously Vermeer,)  was  the  son  of  Jan  van  der  Meer 
the  elder,  and  was  bom  at  Haarlem  in  1656.  He 
was  first  instructed  by  his  father,  but  he  afterwards 
studied  under  Nicolas  Berchem,  of  whom  he  became 
one  of  the  best  scholars.  He  painted  subjects 
similar  to  those  of  Berchem,  landscapes  with  cattle 
and  pastoral  figures,  and  was  peculiarly  successful 
in  painting  sheep.  His  landscapes  also  exhibit  very 
))leasing  scenery.  He  died  at  Haarlem  in  1705. 
Pictures : 


Amsterdam.  B.  Museum. 
Berlin.  Museum. 

Copenhagen.  Gallery. 
Dresden.  „ 

,)  »t 

Frankfort.  Stadel  Inst. 
Petersburg.  Herynitage. 
Rotterdam.         Museum. 


The  Sleeping  Shepherd. 
Landscape  with  Cattle. 
Landscape  with  Cattle. 
Mountainous  Landscape. 
Shepherd  and  Flock. 
Evening  Landscape. 
Italian  Landscape. 
Italian  Landscape. 


We  have  a  few  charming  etchings  by  this  artist, 
which  are  now  become  scarce,  viz. : 

A  set  of  four  landscapes,  with  sheep. 
A  Ewe  suckling  a  Lamb  ;  /.  v.  der  Meer  de  Jonghe  fidl. 
1683. 

VAN  DER  MEER,  John.    See  Van  der  MEerb. 

VAN  DER  MEER,  N.,  a  Dutch  engraver,  who 
resided  in  Paris  about  the  year  1760.  He  engraved 
some  church  interiors,  flowers,  &c.,  for  Le  Brun's 
Gallery. 

VAN   DER   MEERE,   Charles,  son   of   Livin, 


was  admitted  as  free  master  into  the  Guild  of  St. 
Luke  at  Ghent,  on  August  5,  1470.       \V.  H.  J.  W. 

VAN  DER  MEERE,  Christopher,  son  of  Martin, 
admitted  as  free  master  into  the  Ghent  Guild  on 
October  14,  1488,  was  one  of  the  sworn  officers  in 
1489-90.  W.H.J.W. 

VAN  DER  MEERE,  Gerard,  a  painter,  who 
flourished  in  the  second  quarter  of  the  15th 
century  at  Ghent.  On  November  18,  1426,  he  was 
surety  for  another  painter  who  had  been  admitted 
as  free  master  into  the  Guild  of  St.  Luke,  but  had 
not  paid  the  fees.  He  is  described  in  a  chronicle 
of  the  15th  century  as  a  pupil  of  Hubert  van  Eyck. 
Many  of  his  works  were  destroyed  during  the 
Spanish  troubles,  and  no  absolutely  authentic 
painting  by  him  is  known.  In  St.  Bavon's  at 
Ghent  there  is  a  triptych,  composed  of  a  'Cruci- 
fixion,' '  Moses  striking  the  Rock,'  and  the  '  Brazen 
Serpent,'  which  is  attributed  to  him,  as  also  a 
Passion  picture  in  the  cathedral  of  Bruges,  but  for 
neither  is  there  any  documentary  evide:ice  what- 
ever, and  the  two  are  certainly  not  by  the  same 
hand.  Some  of  the  miniatures  in  the  Grimani 
Breviary  at  Venice  used  to  be  ascribed  to  him, 
but  some  of  these  are  now  believed  to  be  by 
Gerard  llorenbout,  and  others  are  certainly  by 
Gerard  David.  Van  Mander  mentions  having  seen 
a  Lucretia  painted  by  Gerard  Van  der  Meere,  in 
the  possession  of  Mr.  James  Revaert  at  Amsterdam. 

W.  H.J.W. 

VAN  DER  MEERE,  John,  a  painter  of  Ghent 
in  the  15th  century,  is  called  by  Lnnnrzeel  a 
brother  of  Gerard  Van  der  Meere,  and  scholar  of 
the  Van  Eycks.  The  same  author  says  he  painted 
a  picture  vi  an  'Installation  of  the  Order  of  the 
Golden  Fleece'  for  Charles  the  Bold,  Duke  of 
Burgundy,  whom  he  followed  in  his  campaigns, 
and  that  he  died  at  Nevers  in  1471.  The  following 
pictures  by  him  are  at  present  not  to  be  found  : 

The  Martyrdom  of  St.  Livin. 

The  Death  of  St.  Bavon. 

VAN  DER  MEERE,  John,  a  painter,  who 
worked  at  Antwerp,  was  admitted  as  free  master 
into  the  Gudd  of  St.  Luke  at  Antwerp  in  1474, 
and  was  Dean  in  1505.  He  married  Adelaide  de 
Bock.  W.  H.  J.  W. 

VAN  DER  MEERE,  Livin,  a  Flemish  painter, 
settled  at  Lyons  in  1508,  and  was  still  working 
there  in  1525,  but  died  before  1528.  He  had  two 
sons  who  were  painters  :  John,  who  was  admitted 
into  the  Guild  in  1524,  died  in  1567 ;  and  Gabriel, 
1529-1554. 

VAN  DER  MEERSCH,  Pasciiuier,  is  mentioned 
in  the  archives  of  Bruges  as  having  entered  the 
Painters'  Guild  in  that  city  in  148.?,  and  as  having 
been  a  pupil  of  Memling. 

VAN  DER  MEERSCH,  Philip,  a  Flemish 
draughtsman  and  painter,  born  at  Oudenarde  in 
1749.  He  founded  a  free  school  of  design  and 
architecture  in  his  native  town,  where  he  died  in 
1819. 

VAN  DER  MEULEN,  Adam  Frans,  painter, 
was  born  at  Brussels  in  1632,  though  from  his 
long  residence  in  Paris  he  is  generally  classed  with 
the  French  School.  His  parents,  who  were  in  easy 
circumstances,  placed  him  as  a  disciple  with  Peter 
Snayers,  whom  he  soon  surpassed.  Some  of  his 
first  productions  then  found  their  way  to  Paris, 
and  possessed  sufficient  merit  to  attract  the  atten- 
tion of  Charles  Le  Brun,  at  that  time  the  arbiter  of 
taste  in  the  French  metropolis.  As  the  great  aim 
of  every  one  about  the  Court  was  to  fiatter  the 
^  247 


A  BIOGRAPHICAL  DICTIONARY  OF 


ambition  of  Louis  XIV.,  Le  Brun  recommended 
Van  der  Meulen  to  Colbert,  as  a  likely  person  to 
fitly  commemorate  tlie  military  achievements  of 
that  monarch.  The  minister  agreed.  Van  der 
Meulen  was  invited  to  Paris,  was  pensioned  by  the 
king,  and  granted  apartments  at  the  Gobelins,  where 
he  was  employed  on  designs  for  tapestry.  The 
brilliant  exploits  of  Louis  XIV.  afforded  an  ample 
field  for  the  painter's  ability  ;  and  Van  der  Meulen 
was  appointed  to  attend  his  royal  patron  to  the  field 
in  his  campaigns.  He  painted  the  principal  battles 
and  sieges  in  Flanders  for  the  Chateau  of  Marly. 
He  also  painted  huntings  and  cavalcades.  Although 
he  was  principally  employed  in  painting  for  the 
court,  many  of  his  pictures  are  in  private  collections. 
In  1G73  lie  was  received  a  member  of  the  Academy. 
Most  public  museums  possess  samples  of  his  works, 
while  those  of  the  Louvre  and  Versailles  have  a 
large  collection  between  them.  The  king  heaped 
riches  and  distinctions  on  him,  and  Le  Brun,  his 
constant  friend,  gave  him  his  niece  in  marriage. 
Van  der  Meulen  died  in  Paris  in  1690. 

VAN  DKR  MEULEN,  Pieter,  was  the  brother, 
and  probably  the  scholar,  of  Frans  van  der  Meulen. 
He  was  originally  brought  up  a  sculptor,  but  aban- 
doned that  art  for  painting.  He,  too,  painted 
battles  and  huntings,  and  in  1670  came  to  England 
to  paint  the  exploits  of  King  William  III.,  Louis's 
rival.  Largilliere's  portrait  of  this  artist  was 
mezzotinted  by  Beoket. 

VAN  DER  MIJ,  Jerome,  (Van  der  Mt,)  was 
born  at  Leyden  in  1687,  and  was  a  scholar  of 
Willem  Mieris.  He  painted  history,  portraits,  and 
genre  subjects. 

VAN  DEU  MIJN,  Agatha,  the  sister  of  Herman 
van  der  Mijn,  came  with  her  brother  to  London, 
and  was  a  member  of  the  Free  Society  of  Artists. 
She  painted  fruit,  flowers,  game,  &c.,  and  exhibited 
for  the  last  time  in  1768. 

VAN  DER  MIJN,  Andeeas,  an  obscure  Dutch 
engraver,  was  the  second  son  of  Herman  van 
der  Mijn,  and  resided  some  time  in  London.  He 
was  born  in  1714,  but  the  year  of  his  death  is  un- 
known. We  have  a  portrait  of  Richard  Leveridge, 
the  actor,  by  him. 

VAN  DER  MIJN,  Feans,  the  third  son  of  Her- 
man van  der  Mijn,  was  born  at  Amsterdam  in  1719. 
He  was  an  excellent  portrait  painter,  and,  after 
a  period  of  activity  in  his  native  town,  came  to 
London,  where,  in  1763,  he  became  a  member  of 
the  Free  Society  of  Artists.  To  the  Society's 
exhibitions  he  sent  forty  portraits  between  the 
years  1761  and  1772.  He  was  in  some  ways  the 
best  painter  of  his  family.  He  died  in  London, 
August  20,  1783. 

VAN  DER  MIJN,  Gerhardt,  the  eldest  of  the 
sons  of  Herman  van  der  Mijn,  was  born  in  1706, 
and  painted  chiefly  in  London.  His  subjects  were 
portraits,  hidies  attired  as  shepherdesses,  and  other 
subjects  after  the  manner  of  contemporary  French 
art. 

VAN  DER  MIJN,  Herman,  painter,  was  bom 
at  Amsterdam  in  1684.  He  was  the  son  of  a 
clergyman,  who  intended  him  for  the  Church, 
and  bestowed  on  him  a  suitable  education.  His 
love  for  art,  however,  finally  led  to  his  being 
placed  under  the  tuition  of  Ernst  Stuven,  the 
flower  painter.  Wishing  to  practise  a  higher 
branch  of  art,  he  quitted  Stuven  and  flower- 
painting,  and  turned  his  attention  to  history  and 
portraiture.  In  1716  he  was  summoned  to  the 
court  of  the  Elector   Palatine,  where   he   passed 

21M 


some  time.  He  afterwards  returned  to  Holland, 
where  he  painted  a  'Jupiter  and  Danae,'  which 
excited  much  admiration.  He  then  visited  Antwerp, 
and  afterwards  Paris,  where  he  painted  a  picture  of 
'Peter  denying  Christ,' which  is  considered  his  best 
work.  On  the  recommendation  of  Lord  Cadogan, 
became  to  England  about  the  year  1722,  and  was 
employed  in  painting  portraits  for  the  nobility, 
in  which  he  carried  minuteness  to  excess.  Fred- 
erick, Prince  of  Wales,  and  the  Prince  of  Orange, 
sat  to  him  ;  and  he  painted  a  picture  of  the  Dake 
and  Duchess  of  Chandos,  for  which  he  is  said  to 
have  received  five  hundred  guineas.  He  was  also 
employed  in  repairing  the  pictures  at  Burleigh 
House.  Van  der  Mijn  died  in  London  in  1741. 
Several  of  his  paintings  are  at  Augsburg  and 
Munich.  Besides  his  five  sons  he  had  a  daughter, 
Cornelia,  who  gained  some  reputation  in  England 
as  a  painter  of  still-life.  She  was  bom  at  Am- 
sterdam in  1710 ;  the  year  of  her  death  is 
unknown. 

VAN  DER  MIJN,  JoRis,  (or  George,)  the  fourth 
son  of  Herman  van  der  Mijn,  was  bom  in  London 
in  1723,  but  after  the  death  of  his  father  he  went 
to  Amsterdam,  where  he  painted  small  portraits 
and  genre  pieces,  and  discovered  a  talent  for 
representing  silks  and  other  stuffs.  He  died  at 
Amsterdam  in  1763. 

VAN  DER  MIJN,  Robert,  fifth  son  of  Herman 
van  der  Mijn,  and  a  painter  of  portraits,  landscapes, 
and  fruit  and  flower-pieces,  was  bom  in  London 
in  1724.  He  was  an  imitator  of  Watteau,  and 
exhibited  portraits  with  the  Free  Society  in 
1762-3-4. 

VAN  DER  MOERE,  Nicolas,  an  eariy  Flemish 
painter,  who  is  mentioned  in  a  record  of  1397  as 
practising  at  Antwerp. 

VAN  DER  MOIRON,  ,  a  Dutch  landscape 

painter  of  the  17th  century,  of  whom  nothing  is 
known.  In  the  Stockholm  Gallery  there  are  two 
pictures  by  him  ;  one  represents  peasants  dancing 
near  the  ruins  of  a  temple,  the  other  a  cattle  fair. 

VAN  DER  MONT,  Theodore,  a  Flemish  painter, 
was  born  at  St.  Trond  in  1581.  His  name  has  been 
Italianized  into  Deodato  Del  Monte.  lie  was  a 
pupil  of  Rubens,  and  enjoyed  the  special  friendship 
of  this  master.  He  was  made  free  of  the  Guild 
of  St.  Luke  at  Antwerp  in  1608.  He  worked  as 
engineer  for  the  King  of  Spain,  and  was  also  em- 
ployed by  the  Duke  of  Neuburg,  who  ennobled 
him.  He  died  at  Antwerp  in  1644,  and  was  buried 
in  the  church  of  St.  Jacques.  In  the  Antwerp 
Gallery  there  is  a  '  Transfiguration '  by  him ;  another 
version  of  the  same  subject  is  at  Nancy. 

VAN  DEN  MOORTELLE,  (or  Moortere,) 
Gherolp,  a  Flemish  painter  of  the  15th  century, 
was  a  pupil  of  Daniel  De  Rycke.  He  became 
Master  in  the  Painters'  Guild  at  Ghent  in  1463. 
In  1460-61  he  was  engaged  on  an  altar-piece  for 
the  church  of  Everghem-lez-Gand,  jointly  with 
Lieven  Van  Den  Bo.ssche. 

VAN  DER  NEER,  Aert  or  Arnold,  born 
1604,  at  Gorinchem,  removed  to  Amsterdam  before 
1638,  married  Elizabeth  Covers.  He  kept  a  wine- 
shop, but  this  does  not  appear  to  have  met 
with  better  success  than  his  paintings,  which  were 
so  little  appreciated  that  he  became  bankrupt  in 
1662,  but  satisfied  his  creditors  a  few  years  later; 
he  died  poor,  November  9,  1677.  Scarcely  any- 
thing is  known  of  his  Ufe.  He  excelled  in  moon- 
light views,  generally  of  towns,  and  groups  of 
cottages  or  fishermen's  huts  on  the  banks  of  a  river 


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PAINTERS  AND   ENGRAVERS. 


or  canal,  with  boats  and  figures.  He  is  said  to 
have  painted  some  two  hundred  of  these  without 
a  single  case  of  repetition.  He  occasionally  painted 
Bunsets  and  often  winter  pieces,  with  figures 
amusing  themselves  on  the  ice,  in  which  he  is 
scarcely  surpassed.  His  best  pictures  have  a 
transparency  of  colour,  a  lightness  of  hand,  a 
general  freshness  and  sincerity,  and  a  mastery  of 
composition,  which  gave  them  a  very  high  rank  in 
the  Dutch  School.  He  signed  his  pictures  with  a 
double  monogram,  an  A  interlaced  with  a  V,  and 


a  D  with  a 


""^OCBi- 


Works : 


Amsterdam.     Museum.    Landscape,     Evening     Scene. 
1639  (signed). 
„  „  Winter  Landscape. 

„  ,,  Winter  River. 

„  Dr.  A.  Bredius.    Frozen  River  with  Skaters. 
Brunswick.       Museum.     Moonlight  Winter   Landscape. 

1645  {signed). 
Brussels.  Duke  of  Area-  J  ^^^^^^  Landscape. 

„  M.  Cavens.     Sea-port  with  shipping,  calm, 

c.  1640. 
Frankfort.     Staedel  In- 1  Mansion  between    high   trees  ; 
stitute.    J      a     sportsman      going      out. 
1645  (snjned). 
London.     Nat.  Galhrij.     Landscape ;    evening    (signed). 
The  figures  are  not  by  Cuyp, 
whose  signature  is  a  forgery. 
„  ,,  Moonlit  Ri\er  Scene. 

,,  Wallace  Coll.     A  Winter  Landscape. 

„  „  Two  Cana  Scenes. 

„  „  Two  River  Scenes. 

„  „  A  Skating  Scene. 

„   Mr.  George  ■Sjft-j  Wmter  Landscape. 

„       Lady  Wantage.     Winter        Landscape.         1643 
„  „  (signed). 

Landscape    with    Cattle    in    a 
„  „  shallow  stream. 

The  Wood-cutters  (signed), 
Schwerin.         Museum.    Moonlit  Landscape.     1646. 

Authority:  Dr.  A.  Bredius,  in  '  Oud  Holland, 
XVIII.,  1900.  W.H.J.W, 

VAN  DER  NEER,  Eglon  Hendbik,  the  son  of 
Aert  van  derNeer,  was  born  at  Amsterdam  in  1643, 
and  received  his  first  instruction  from  his  father, 
but  his  taste  leading  him  to  history  and  portraits, 
he  was  placed  under  the  care  of  Jacob  van  Loo. 
When  he  was  twenty  years  of  age  he  went  to  Paris, 
where  he  passed  four  years,  and  painted  small 
portraits  and  domestic  subjects,  which  were  popular. 
On  his  return  to  Holland  he  attempted  some 
historical  and  poetic  pieces,  which  have  little  to 
recommend  them  but  their  elaborate  finish.  He 
was  more  successful  in  genre,  in  which  he  appears 
to  have  imitated  Terborch  and  Netscher.  In 
pictures  of  this  class  he  carried  fusion  of  touch 
and  finish  about  as  far  as  they  would  go.  Eglon 
van  der  Neer  lived  for  a  time  at  Rotterdam,  Amster- 
dam, and  Brussels,  and  was  employed  by  the 
Elector  Palatine  at  Diisseldorf,  where  he  died  in 
1703.  He  was  appointed  painter  to  the  King  of 
Spain,  on  account  of  his  portrait  of  the  Princess 
of  Neuberg.  His  own  portrait  was  engraved 
by  G.  M.  Preisler.  He  is  supposed  to  have 
been  the  instructor  of  Adriaan  van  der  Werif. 
He  married  at  Rotterdam,  February  1669,  Mary 
Wagensvelt     Works : 

Amsterdam.  Tobias  with  the  Angel.     1C90. 

Augsburg.  A  Roclry  Landscape.     1702» 

Dalkeith.  Palace.     Children  playing  (signed). 


Dublin.  Nat.  Gall.    Gentleman  preparing  for  the 

Chase. 
Glasgow.  Gallery.    Venus  and  Adonis  (very  good) . 

„  „  Cavalier    singing  and  playing 

the  Viohn. 
London.        Bridqewater  \   ,  „ 

Gallery.    |  ^  Boy. 
Munich.  The  Lute-player. 

Paris.  Louvre.     The  Fishmonger. 

„  „  A  Chariot  with  two  horses  in  a 

Landscape. 
Petersburg.     Hermitage.     Two  Landscapes. 

„  „  A   young  Cavalier  peeling  an 

Orange. 
Rotterdam.        Museum.    Young  AYoman  playing  on  the 

Guitar  ( very  good). 
Schwerin.  Museum.     Children  at  play, 

Vienna.  Academy.    A  Lady  at  Table. 

W.  H.  J.  W. 
VAN  DER  NEER,  John,  eon  of  Arnold,  born  in 
1638,married  February  10,1 662, Hermina  Breeckers, 
and  died  November  19,  1665. 

Schwerin.  Gallery.     Moonlit  Landscape  (signed), 

W.H.J.W. 

VAN  DER  0,  Leon  Heinrich, 'a  German  en- 
graver, flourished  about  the  year  1660.  He  exe- 
cuted some  of  the  portraits  for  Priorata's  '  History 
of  the  Emperor  Leopold.' 

VAN  DER  PERRE,  Jan,  (or  Johann  de  Perre,) 
painter,  was  the  son  of  an  obscure  portrait  painter, 
NlKLAS  VAN  der  Perre,  who  had  fled  as  a  heretic, 
from  Antwerp  to  Leipsic,  and  afterwards  died  in 
the  hitter  city  iu  1595.  Jan  became  painter  to  the 
Electoral  court,  and  has  left  portraits  of  Luther, 
Melancthon,  Frederick  the  Quarrelsome,  and  the 
Elector  Moritz.     He  died  about  1618. 

VAN  DER  PLAS,  Pieter  David,  portrait 
painter,  was  born  at  Amsterdam  in  1647.  After 
studying  for  a  time  in  bis  native  country,  it  is  said 
that  he  travelled  to  Italy,  and  resided  some  years  at 
Venice,  where  the  works  of  Titian  were  the  objects 
of  his  particular  attention.  All  this,  however,  Mr. 
Bredius  denies,  and  declares  that  the  only  break  in 
his  activity  at  Amsterdam  was  during  a  short 
sojourn  in  London.  In  Holland  he  was  widely 
employed  in  portraiture,  and  painted  many  of  the 
distinguished  people  of  his  time,  among  others  Ad- 
miral van  Tromp.  He  was  employed  by  Peter  Martin 
to  superintend  the  plates  for  his  Bible.  He  died  at 
Amsterdam  in  1704.  There  is  a  portrait  by  him 
in  the  National  Portrait  Gallery,  supposed  to  re- 
present Milton,  which  was  engraved  as  such  for 
W.  Stephenson  of  Norwich  in  HOT,  and  also  for 
tho  Boydells.  The  Amsterdam  Museum  possesses 
two  jiortraits  by  him. 

VAN  DER  PLAS,  Pieter,  (or  Van  den  Plas,) 
was,  according  to  Descamps,  bom  in  Holland 
about  the  year  1570.  M.  F6tis,  however,  in  his 
catalogue  of  the  Brussels  Museum,  shows  that  he 
was  probably  born  in  that  city  about  1595.  He 
resided  many  years  at  Brussels,  where  he  won 
some  repute  as  a  painter  of  history.  In  the  17th 
century  there  was  a  Dutch  sculptor  named  Pieter 
van  der  Plass,  whose  portrait  was  painted  by 
Kneller  and  engraved  by  Schenck.  There  was 
also  an  engraver  who  signed  himself  P.  van  der 
Plaas.  Of  these  two  men  and  the  Brussels  painter, 
Nagler  makes  a  single  individual.  M.  F^tis  has 
discovered,  however,  that  Van  der  Plas,  the  painter, 
was  inscribed  on  the  Guild  books  at  Brussels  in 
1610,  as  an  apprentice,  so  that  he  was  then  pro- 
bably about  fifteen.  He  is  there  called  a  native  of 
Brussels  and  a  pupU  of  Ferdinand  de  Berdt.  He 
was  received  into  the  mastership  of  the  GuUd  in 

2Ay 


A   BIOGRAPHICAL   DICTIONARY  OF 


1619,  and  an  'Enthroned  Virgin'  by  him  in  the 
Brussels  Gallery  is  dated  1647.  The  date  of  his 
death  has  not  been  discovered. 

VAN  DER  PLUYM,  Charles,  admitted  into 
the  Guild  of  St.  Luke  at  Leiden  in  1648,  was 
elected  Dean  in  1055. 

Leiden.  Museum.    An  Old  Man   reading.     1655 

(siymd).  W.  H.  J.  W. 

VAN  DER  POEL,  Egbert,  was  probably  a 
native  of  Delft,  where  he  was  baptized  March  9, 
1621.  He  became  a  member  of  the  Guild  at  Delft 
about  1650.  He  is  best  known  by  his  pictures 
of  conflagrations,  but  he  also  produced  views  of 
villages,  of  rustic  interiors,  and  genre  subjects. 
In  the  Museum  at  Amsterdam  there  is  a  picture 
by  him,  representing  the  explosion  of  a  powder 
magazine  at  Delft  in  1654,  which  was  a  favourite  sub- 
ject with  him,  as  he  repeated  it  many  times  ;  several 
of  these  repetitions  are  in  England,  others  are  in 
the  Rotterdam  Museum  and  the  Vienna  Gallery. 
Van  der  Poel  generally  signed  his  name  in  full,  but 
sometimes  he  only  used  the  initials  E.  V.  P.  He 
removed  from  Delft  in  1654,  and  died  at  Rotterdam 
in  1664.  The  following  pictures  by  him  may  be 
named  : 

Amsterdam.       Museum.     luterior  of  a  Cottage.     1646. 
Brussels.  Mustuvi.     luterior  of  a  Kitchen. 

Copenhagen.       Galleri/.     Burning  of  a  Town. 
Hague.  Museum.     Moonlight  Scene. 

London.       Nat.  Gallery    Delft  after  the   Explosion  of 

1654. 
Paris.  Louvre.     Peasants    before    their    Door. 

Petersburg.     Hermitaye.     Three  Kitchen  pieces. 
Stuttgart.  Gallery.     Attack  of  Bobbers. 

Vienna.  Gallery.     Peasant      Family      before      a 

Cottage. 

VAN  DER  POORT,  Aelbert  Jakob,  an  obscure 
Dutch  painter  of  landscapes  and  portraits,  was  born 
in  1771.  He  was  a  pupil  of  Beekkerk,  and  died  in 
18(17. 

VAN  DER  POORTEN,  Hendrik  Josef  Fran- 
ciscus,  landscape  painter  and  etcher,  was  born  at 
Antwerp  in  1789,  and  was  a  pupil  of  Herreyns 
and  Mayn.  He  was  in  much  repute  about  the 
year  1815,  and  his  landscapes  with  figures  and 
animals,  and  especially  those  representing  sunrise 
and  moonlight,  were  in  great  request.  He  etched 
and  lithographed  thirty-eight  landscapes.  He  was 
a  member  of  the  Antwerp  Academy.  There  are 
pictures  by  him  at  Ghent  and  Brussels.  He  died 
in  1874. 

VAN  DER  ROER,  Jakob,  was  born  at  Dordrecht 
in  1648.  He  studied  portrait  painting  under  Jan  de 
Baen,  and  practised  for  some  time  in  England, 
during  the  reign  of  Charles  11.  It  is  not  known 
how  long  he  remained  in  this  country,  but  he  was 
in  the  employment  of  Kneller  towards  the  end  of 
the  17th  century.     He  died  at  Dordrecht  in  1699. 

VAN  DER  SCHALKE,  Cornelis,  a  Dutch 
painter  of  river  scenery,  and  of  landscapes  with 
cattle  and  figures,  living  in  the  17th  century,  is 
noticed  by  his  contemporary,  V.  L.  Van  der  Vinne. 
He  is  said  to  figure  as  a  sergeant  in  the  picture  by 
Frans  Hals  in  the  Haarlem  Museum,  representing 
the  '  Ofllcers  of  the  Archers'  Corps  of  St.  George.' 

VAN  DER  SCHELDE,  Lieven,  a  Flemish 
painter  of  history  and  miniatures,  who  flourished 
at  Ghent  about  1580.  He  was  one  of  the  artists 
employed  with  Lucas  de  Heere  in  1682  on  the 
decorations  for  the  reception  of  the  Due  d'Alen- 
^on,  and  also  reproduced  in  miniature  the  decora- 
tions for  the  Joyeuse  Entree  of  Alessandro  Farnese 

250 


into   Ghent,    1584.     These  he   presented   to  the 
Municipality  of  Ghent,  to  which  they  still  belong. 
VAN  DER  SCHLEY,  Jacob,  a  Dutch  engraver, 
was  bom  at  Amsterdam  in  1715.     He  was  a  dis- 
ciple of  Bernard  Picart,  whose  style  of  engraving 
he  imitated  ;  he  also  finished  several  of  the  plates 
left  imperfect  at  the  death  of  that  master.     He 
died  in  1779.     We  have  a  few  portraits  and  book 
ornaments  by  this  artist ;  among  them  the  follow- 
ing : 
Jean  Baptiste  Boyer,  Marquis  d'Argens  ;  after  Van  Pee. 
Autoine  Bernard  Pr6vot,   Almoner  to   the   Prince   of 

Conti ;  after  the  same. 
Bernard  Picart,  Engraver ;    after  Mathias  des  Angles. 

1734. 
Henri  de  la  Tour  d'Auvergne,  Vicomte  de  Turenne ; 

after  the  same. 
The  prints  after  Coypel  for  the  edition  of  '  Don  Quixote ' 
published  at  Amsterdam  in  1746. 

VAN  DER  SCHLICHTEN,  Jan  Piiilipp,  (or 
Von  der  Schlichten,)  a  Dutch  painter  of  the  18th 
centurj',  was  a  pupil  of  Adriaen  Van  der  Werff, 
whose  style  he  imitated.  He  was  employed  by 
the  Elector  Palatine  Karl  Philipp,  and  seems  to 
have  settled  at  Mannheim  (whence  the  Germanized 
form  of  his  name,)  and  to  have  died  there  in  1745. 
In  the  Munich  Pinakothek  are  the  following  by 
him:  'A  Village  Musician'  (1731),  '  S.  Andrew' 
(1732).  His  son  Johann  Friedrich,  born  at 
Mannheim  in  1725,  travelled  for  instruction  in 
Italy,  and  studied  under  F.  Torelli  and  under 
Conca.  He  painted  genre  pictures  in  the  manner 
of  Metsu  and  Netscher,  and  occasionally  feigned 
bas-reliefs,  &c.  He  became  director  of  the  Mann- 
heim Gallery,  and  died  in  that  town  in  1795. 

VAN  DER  SCHUUR,  Theodoor,  was  born  at 
the  Hague  in  1628.  After  receiving  some  instruc- 
tion in  his  native  country  he  went  to  Paris,  where 
he  frequented  the  school  of  Sebastien  Bourdon, 
under  whom  he  passed  three  years.  He  travelled 
to  Rome  in  1651,  and  there  studied  chiefly  after 
Raphael  and  Giulio  Romano.  He  had  already 
acquired  some  reputation  when  he  was  favoured 
with  the  patronag'-  of  Christina,  Queen  of  Sweden, 
who  employed  him  in  several  undertakings.  After 
a  residence  of  fourteen  years  at  Rome,  Van  der 
Schuur  returned  to  Holland,  in  1665,  was  made  a 
member  of  the  Academy  at  the  Hague,  and  painted 
'  Justice,  Temperance,  and  Fortitude,'  on  a  ceiling 
in  the  Town-hall.  One  of  his  best  works  is  a  large 
group  of  portraits  of  Officers  of  trained  bands, 
painted  in  1675,  and  now  in  the  Shooting  G^iUery 
at  the  Hague.  He  has  also  left  some  pictures  of 
Saints  in  the  New  Church  there,  and  an  allegory 
in  the  hall  of  the  States-General.  He  at  one  time 
impoverished  himself  by  speculation,  but  by  appli- 
catioTi  to  his  art  he  finally  retrieved  his  losses.  He 
died  in  1705. 

VAN  DER  SLUIJS,  Jakob,  was  born  at  Ley- 
den  in  1660,  and  brought  up  in  the  Orphanage. 
Evincing  some  taste  for  art,  lie  was  placed  under 
.\ry  de  Vois,  whom  he  left  to  become  a  disciple  of 
Peter  van  Slingelandt.  He  imitated  the  polished 
style  of  the  latter,  but  with  a  less  laborious  finish, 
and  his  small  pictures  of  conversations,  domestic 
subjects,  and  fashionable  assemblies  met  with  con- 
siderable success.  They  are  chiefly  confined  to 
Leyden,  where  he  constantly  resided,  and  where  he 
died  in  1736.  There  are  four  pictures  by  him  in 
the  Leyden  Museum. 

VAN  DER  SLU  YSE,  Charles,  a  Flemish  painter 
of  little  note,  who  was  a  pupil  of  the  Antwerp 
Academy  in  177.S,  and  became  Director  in  1784. 


PIETER  VAN   DER  PLAS 


lV,tlk,:r  and  Cockerell photo]  ^National  Portrait  Gallery 

PORTRAIT  OF  JOHN  MILTON 


PAINTEKS  AND    ENGRAVERS. 


VAN  DER  SPELT,  Adriaen,  a  flower  painter, 
was  born  at  Gouda,  according  to  some  authorities, 
or  at  Leyden,  accordinf!^  to  others,  about  1630. 
He  was  a  scholar  of  W.  Crabeth,  the  younger,  and 
occasionally  painted  upon  glass.  He  resided  in 
Germany  for  a  considerable  time,  where  his  flower- 
pieces  were  held  in  much  esteem.  He  was  for 
some  time  at  Berlin,  and  was  patronized  by  the 
Elector  of  Brandenburg.  He  returned  to  his  native 
country,  and  died  at  Gouda  in  1673. 

VAN  DER  SPRIETT,  Jan,  was  a  native  of 
Delft,  and  a  scholar  of  Verkolje,  and  died  in 
London  about  the  beginning  of  the  18th  century. 
He  scraped  a  mezzotint  portrait  of  Timothy  Cruso, 
Presbyter,  after  his  own  design. 

VAN  DER  STAR.     See  Stella. 

VAN  DER  STEEN,  Frans,  a  Flemish  painter 
and  engraver,  was  born  at  Antwerp  in  1604.  He 
took  to  art  in  consequence  of  having  lost  a  leg 
through  a  fall,  and  made  such  progress  that  he 
was  employed  and  pensioned  by  the  Archduke 
Leopold.  Little  is  known  of  his  work  as  a  painter, 
but  his  plates  for  the  collection  known  as  '  Teniers's 
Gallery,'  are  excellent.  Among  lifty  prints  enumer- 
ated by  Nagler  we  may  name  the  following  : 

Cornelis  Oort,  Engraver,  of  Antwerp. 

Dirk  Cuerenhert,  Engraver,  of  Amsterdam. 

Andrea   del    Vaulx,   Professor   of    the    University   of 

Louvaiu. 
The  Holy  Family  ;  after  Titian. 
La  Madonna  del Sacco;  after  Andrea  del  Sarto. 
Michelangelo's  Dream  ;  after  JIu-hchjigeh, 
Soldiers  playing  at  Cards  ;  after  Manfredi. 
The  Adoration  of  the  Trinity  ;  after  Albrecht  Durer. 
The  Martyrdom  of  the  Ten  Thonsand  Saints  ;  from  a 

drawing  by  Van  Hoi/e,  after  the  picture  by  Albrecht 

Diirer,  now  in  the  Vienna  Gallery. 
Silenus  drunk,  supported  by  Satyrs  and  Bacchante ;  after 

I'aii  Di/rk.     (HiibetiS?) 
Cupid  sliaping  his  Bow ;  after  Parmigiano  (ascribed  to 

Correijgio  in  the  letteriny). 
Jupiter  and  lo  ;  after  Correggio. 
Ganymede  ;  after  the  same. 

VAN  UER  STOCK,  Ignaz,  a  Dutch  painter  and 
engraver,  who  flourished  about  the  year  1670. 
Judging  from  his  original  etchings,  he  was  a  land- 
scape painter  of  some  ability.  Adriaen  Boudewyns 
was  his  pupil.  Hia  plates  are  slight  but  spirited. 
Some  are  from  designs  by  Fouquieres,  others  after 
compositions  of  his  own.  Among  them  we  may 
cite : 


View  of  Linkenbeek. 
The  Two  Stags. 
A  Forest. 


A  Swamp. 

Gentleman  giving  alms. 


VAN  DER  STRAET,  Jan,  also  called  Johannes 
Stradands  and  Giovanni  della  Strada,  was  born 
at  Bruges  in  1523,  or,  according  to  another  account, 
in  1536.  He  was  first  instructed  by  his  father, 
an  obscure  artist  of  little  merit.  He  afterwards 
studied  under  Pieter  Aartsen,  until  he  found  him- 
self sufficiently  advanced  to  undertake  a  journey 
to  Italy.  He  worked  at  Rome  under  Salviati,  and 
in  conjunction  with  that  painter  and  Daniele  da 
Volterra,  was  employed  in  the  Belvedere  of  the 
Vatican.  He  was  invited  to  Naples  by  Don  John  of 
Austria,  whom  he  accompanied  back  to  the  Nether- 
lands. He  afterwards  returned  to  Italy,  and  Vasari 
engaged  him  to  visit  Florence,  where  he  was  em- 
ployed, conjointly  with  that  painter,  in  several 
considerable  works  for  the  ducal  palace  and  other 
buildings.  The  Annunziata  has  one  of  his  best 
works,  a  'Crucifixion,'  with  the  Virgin  Mary,  Mary 
Magdalene,  St.  John,  and  a  great  number  of  other 
figures.     San  Spirito  has  'The  Expulsion  of  the 


Money-changers  from  the  Temple  ;  '  the  chapel 
of  the  Archiepiscopal  Palace  a  '  Nativity '  and 
an  '  Adoration  of  the  Shepherds  ;'  Santa  Croce,  an 
'  Ascension  ;  '  and  Santa  Maria  Nuova,  a  '  Baptism 
of  Christ  by  St.  John.'  In  the  chapel  of  the 
Palazzo  Pitti  are  two  small  altar-pieces  by  him, 
a  '  Nativity  '  and  an  '  Adoration  of  the  Magi.'  In 
much  of  liis  work  an  exaggerated  imitation  of 
Michelangelo  is  evident.  He  was  a  member  of  the 
Academy  at  Florence,  and  in  that  city  he  died  in 
1605,  according  to  Baldinucci.  He  produced  a 
number  of  pen-and-ink  and  indian-ink  drawings, 
and  made  many  designs  for  tapestries.  His  works 
have  been  engraved  to  the  number  of  388.  In 
1578  was  published  at  Antwerp  a  volume  entitled 
'  Stradani  Venationes  Ferarum,  Avium,  Piscium,' 
&c.,  illustrated  with  ninety-four  plates  after  Van 
der  Straet's  designs.  The  Vienna  Gallery  has  a 
'Scourging  of  Christ'  and  a  'Feast  of  the  Gods,' 
by  him. 

VAN  DER  STRAETEN,  Hendrik,  (or  Van  der 
Streten,)  a  native  of  Holland,  was  born  about  the 
year  1665.  Without  the  help  of  a  master  he  became 
a  successful  landscape  painter.  About  the  year 
1690  he  visited  England,  where  he  met  with  great 
encouragement,  but  spent  his  money  as  fast  as  he 
made  it.  Walpole  tells  the  following  story  of  his 
improvidence:  "One  day  sitting  down  to  paint, 
he  could  do  nothing  to  please  himself.  He  made 
a  new  attempt  with  no  better  success.  Throwing 
down  his  pencils,  he  stretched  himself  out  to  sleep, 
when  thrusting  his  hand  inadvertently  into  his 
pocket  he  found  a  shilling ;  swearing  an  oath,  he 
said,  '  It  is  always  thus  when  1  have  any  money. 
Get  thee  gone,'  continued  he,  throwing  the  shilling 
out  of  the  window,  and  returning  to  his  work, 
produced  one  of  his  best  pictures."  The  better 
pictures  of  Van  der  Straeten  resemble  those  of 
Kuysdael  and  Hobbema  in  style.  Towards  the 
latter  part  of  his  life,  his  expensive  habits  reduced 
him  to  the  necessity  of  despatch,  and  his  last 
pictures  are  the  mere  shadows  of  their  prede- 
cessors. He  is  probably  identical  with  Nicolas 
van  der  Straeten,  who  is  .stated  to  have  come  to 
London,  and  to  have  died  there  in  172'2. 

VAN  DER  STRATEN,  Joris,  a  Flemish  por- 
trait painter,  resided  in  Portugal  about  the  middle 
of  the  16th  century.  This  appears  bj'  an  order 
from  the  queen  to  pay  him  7600  reis  for  the 
portrait  of  Dom  Antonio,  and  his  receipt  for  the 
money,  signed  Joons  Van  dr  Z  Eslraten,  July  4, 
1556.  He  received  a  further  sum  of  80  cruz.ades 
for  painting  the  portrait  of  Dom  Sebastiaen,  the 
yoimgest  son  of  the  queen,  on  December  14,  of 
the  same  year. 

VAN  DER  ULFT,  Jakob,  was  born  at  Gorcum 
in  1627.  It  is  not  known  under  whom  he  studied, 
but  at  first  he  appears  to  have  been  a  painter  on 
glass  ;  and  some  windows  by  him  in  the  churches 
of  Gorcum,  and  in  Guelderland,  are  little  inferior 
to  those  of  Dirk  and  Wouter  Crabeth.  It  is  con- 
jectured, however,  from  his  style  that  he  was  a 
pujiil  of  Jan  Both,  and  that  he  may  have  studied 
in  Italy.  Later  in  life  he  distinguished  himself  as 
a  painter  of  small  historical  pictures.  He  often 
painted  subjects  from  Roman  History,  processions, 
and  markets,  in  which  he  introduced  the  most  re- 
markable views  in  Home  and  the  vicinity.  He 
also  painted  Liutch  scenery.  He  understood  per- 
8|iective  and  architectural  details,  and  his  works 
are  generally  crowded  with  figures,  well  grouped 
and  draped.     His  pictures  are  rare  out  of  Holland. 

261 


A   BIOGRAPHICAL   DICTIONARY  OF 


It  is  said,  we  do  not  know  on  what  authority,  that 
he  painted  a  view  of  London  Bridge.  He  also 
etched.  The  exact  time  of  his  death  is  not  known, 
but  it  was  later  than  1688.  Among  his  pictures 
we  may  name : 

AmBterdam.  S.  Museum.     An  Italian  Port. 
„  All  Italian  Town. 

"  ,,  A  Market-place  io  Italy. 

Berlin!  Museum.     Market    with    Temple    Kuins. 

(A  masterpiece.)    1871. 
Dresden.  Landscape     with     ruins     and 

figures. 
Haarlem.  3Tuscum.     The  Forum  at  Rome. 

Haeue  Museum.     Eomaa   Army  on   the   March. 

''  1671. 

Petersburg.    Hermitage.     The  Triumph  of  Scipio. 
Kotterdam.         Muiewn.     The  Bride  of  AUucius   before 

Scipio.     1674. 

VAN  DER  VAART,  Jan,  was  born  at  Haarlem 
in  IdM.  He  came  to  England  in  1674,  and  studied 
under  Thomas  Wijck.  He  began  with  portraits 
and  still-life,  but  after  a  while  was  employed  by 
William  Wissing  in  painting  draperies.  In  1713 
h,e  abandoned  art  and  took  to  repairing  pictures  ; 
but  ultimately  he  made  yet  another  change,  and 
became  a  mezzotint  engraver.  He  died  in  London 
in  1721.  He  was  the  master  of  John  Smith  in 
mezzotint.  "We  have  by  him  a  few  portraits, 
indifferently  scraped  ;  among  them  are  the 
following : 

King  Charles  II. ;  after  Wissing. 

Ann  Scott,  Duchess  of  Monmouth  ;  after  Kneller. 

Robert  Fielding,  called  the  Beau  ;  after  Lely. 

Edward  "Wetenhall,  Bishop  of  Cork;  ad  vtvum  del. 

VAN   DER  VALCK,  Simon,   a  goldsmith   and 
painter,  who  flourished  at  Delft  or  Leyden  in  1615. 
VAN   DER  VAST.     This  name  is  said    to   be 
afBxed  to  some  etchings  of  landscape. 

VAN  DER  VEEN,  Balthazau,  horn  1596-7. 
In  16.37  was  living  at  Gorcum  ;  in  1639  married 
Margaret  Schaefls,  a  widow,  at  Amsterdam  ;  in 
1650  was  at  Naarden,  and  in  1657  settled  at 
Haarlem  and  joined  the  Guild  of  St.  Luke.  He 
painted  somewhat  in  the  style  of  Hobbema. 
Amsterdam.  Museum.  View  of  Haarlem  (signed). 
Leiden.  Museum.     Landscapewith  Ruined  Castle. 

Authority:  Bredius,  in  '  Dud  Holland,'  XII., 1894. 

W.  H.  J.  W. 

VAN  DER  VENNE,  Adriaen,  was  born  at  Delft 
in  1589,  and  after  being  for  a  while  under  Simon 
Van  der  Valck,  goldsmith  at  Delft,  became  a  scholar 
of  Jerome  van  Diest.  From  1618  to  1624  he  was 
established  at  Middelbuig,  but  in  1625  he  was  at 
the  Hague,  and  his  name  occurs  in  the  archives 
of  that  city  from  that  year  onwards.  He  was  a 
foundation  "member  of  the  Pictura  Society  in  1656. 
He  painted  history,  allegory,  landscapes,  hunting 
and  battle  pieces,  and  conflagrations.  He  showed 
to  most  advantage  when  he  restricted  himself  to 
grisaille,  which  he  took  to  late  in  life.^  As  a 
designer  he  furnished  vignettes  for  an  edition  of 
the  works  of  the  Dutch  poet,  Cats,  and  for  various 
printers  of  his  time.  Ho  was  also  a  poet,  too, 
himself,  and  published  several  satires.  He  was 
a  warm  partisan  of  the  House  of  Orange  and  of 
the  Reformed  Religion.  He  died  at  the  Hague, 
November  12,  1662.  Some  of  his  pictures  are 
immense,  but  they  are  nevertheless  very  numerous. 
The  following  may  be  named  : 

Amsterdam.  R.  Museum.  Prince  Maurice  of  Nassau,  with 
his  Brothers  and  Cousins,  all 
mounted. 

252 


Berlin. 

Museum 

Brunswick. 

Gallery 

Oassel. 

Galltry 

Cliristiania. 

Hague. 

JIfuseum 

Paris. 

Louvre. 

Rotterdam. 

Museum 

Amsterdam.  li.  Museum.  The  Fishers  for  Souls,  an 
allegory,  with  numerous 
portraits. 

(And four  others.) 

Summer  (1604),  Winter  (1604). 

Gipsy  Family. 

An  old  Castle. 

Market  Place. 

Ronde  de  Gueux. 

Peace  Festivities  of  1609,  for 
the  treaty  between  the  Dutch 
and  the  Archduke  Albert. 

Prince  Frederick  Henry  of 
Orange. 

VAN  DER  VENNE,  HnBEBT,  the  son  of  Adriaen 
van  der  Venne,  was  born  at  the  Hague.  He 
painted  bas-reliefs,  groups  of  children,  vases,  and 
other  decorations,  chiefly  in  grisaille.  His  name 
was  inscribed  on  the  Pictura  registers  at  the 
Hague  in  1665.  Pieter  van  der  Vennr,  probably 
another  son  of  Adriaen,  was  a  member  of  the  Guild 
of  S.  Luke,  at  the  Hague,  in  1639,  and  a  foundation 
member  of  the  Pictura  Society  in  1656. 

VAN  DER  VINNE,  or  VAN  DER  VENNE, 
the  name  of  a  family  of  artists  of  Frisian  origin 
settled  at  Haarlem.  '  Venne,'  or  '  Fenne,'  the 
original  form,  is  equivalent  to  the  English  'Fen.' 
VAN  DER  VINNE,  Izaak,  a  Dutch  engraver, 
son  of  Vincent  Laurenszoon  van  der  Vinne,  was 
born  at  Haarlem  in  1665,  and  entered  the  Guild 
in  1690.  He  etched  landscapes  and  sea-piece.s, 
among  them  twelve  views  in  the  environs  of 
Haarlem,  after  Pieter  Bout.  He  also  etched  after 
A.  van  Ostade  and  T.  Wijck.  He  eiibsequently 
became  a  publisher  at  Haarlem,  and  died  in  that 
city  in  1740. 

VAN  DER  VINNE,  Jakob,  bom  at  Haarlem  in 
1688,  was  the  son  of  Laurens  the  elder,  and  worked 
both  as  painter  and  engraver.  He  died  in  1737. 
His  son  Laurens,  called  the  younger  to  distinguish 
him  from  his  grandfather,  painted  landscapes  vidth 
cattle.  Born  at  Haarlem  in  1712,  he  entered  the 
Guild  in  1735,  and  died  in  1742. 

VAN  DER  VINNE,  Jan  Ladrenszoon,  was  the 
son  of  Laurens  the  elder.  He  was  born  at  Haar- 
lem in  1699,  and  died  in  1753.  He  painted  land- 
scapes, flowers,  &o.  He  had  two  sons,  Vincent, 
iq.v.)  and  Jan,  born  17,84,  died  1805,  who  was  an 
engraver  and  draughtsman. 

VAN  DER  VINNE,  Jan,  elder  son  of  Vincent 
Laurenszoon  van  der  Vinne,  was  born  at  Haarlem 
in  1663,  and  was  a  scholar  of  his  father  and  Jan 
Wijck.  In  1686  he  came  to  England,  where  he 
painted  hunting  subjects  and  horse-races.  Some 
of  these  are  respectable,  and  show  artistic  know- 
ledge, but  others  are  mere  house  decoratiijg. 
Wainscot  panels  by  .him  are  occasionally  to  bo 
found  in  old  bouses.  On  his  return  to  Haarlem  ho 
continued  to  paint  hunting-pieces,  and  occasionally 
skirmishes.  He  acquired  wealth  by  his  art,  and 
towards  the  end  of  his  life  combined  it  with  the 
manufacture  of  silk.  He  died  at  Haarlem  in 
1721. 

VAN  DER  VINNE,  Laurens,  the  elder,  the  son 
of  Vincent  Laurenszoon  van  der  Vinne,  was  born 
at  Haarlem  iu  1658,  and  was  instructed  by  his 
father,  whose  style  he  attempted  to  follow.  He 
never  rose  above  mediocrity,  and  his  principal 
merit  consisted  in  the  imitative  painting  of  flowers 
and  plants,  on  which  he  was  much  employed  by 
the  botanists  of  his  time.  He  painted  landscapes 
and  cattle,  in  the  manner  of  Berchem,  under  whom 
he  had  studied,  and  also  engraved.     He  entered 


ADRIAAN  VAX   DER  WERFF 


Hail  Istaiigl  photo] 


THE  DEPARTUKE  OF  HAGAR 


[Dresden  Gallery 


PAINTERS   AND   ENGRAVERS. 


the  Guild  at  Haarlem  in  1685,  and  died  in  the 
same  city  in  1729. 

VAN  DER  VINNE,  Vincent,  was  the  son  of  Jan 
Laurenszoon  van  der  Vinne,  and  was  born  at  Haar- 
lem in  1736.  During  his  youth  he  painted  fruit 
and  flower  pieces,  but  afterwards  adopted  land- 
scape and  cattle  painting.  He  was  much  employed 
in  decorating  rooms  with  designs  on  canvas.  He 
also  engraved,  and  painted  both  original  pictures 
and  copies  in  water-colour.  He  was  for  a  while 
director  of  the  Art  Collection  in  the  Teyler 
Museum,  and  also  carried  on  a  trade  in  works  of 
art.  He  died  at  Haarlem  in  1811.  There  is  a 
landscape  by  him  in  the  Haarlem  Museum. 

VAN  DER  VINNE,  Vincent  Laueenszoon,  was 
born  at  Haarlem  in  1629.  In  1647  he  was  placed 
under  the  tuition  of  Frans  Hals.  In  1649  he 
entered  the  Guild,  and  in  1652-.S  travelled  in 
O-ermany,  Switzerland,  and  France,  residing  some 
time  in  Paris  ;  and  wherever  he  went,  his  ability 
insured  him  employment.  In  1657  he  returned  to 
Haarlem,  where  he  passed  the  remainder  of  his 
life.  He  painted  large  historical  and  allegorical 
subjects,  portraits,  landscapes,  buildings,  animals, 
Btill-life,  and  drolleries  ;  and  in  each  discovered 
much  facility  of  execution,  and  insight  into  nature. 
His  skill  in  the  execution  of  heraldic  shields  pro- 
cured him  the  name  of  the  '  Raphael '  of  signs. 
Towards  the  end  of  his  life,  desire  of  gain  in- 
duced him  to  grasp  at  every  commission  offered, 
and  his  last  works  are  negligent  and  hasty.  His 
best  works  are  his  portraits,  in  many  of  which  he 
approaches  Hals,  under  whose  name  it  is  probable 
that  many  pass.  He  died  in  1702.  The  New  York 
Museum  possesses  a  '  Male  and  Female  Toper '  by 
him.  There  is  a  picture  ascribed  to  a  younger 
Vincent  Laurenszoon  de  Vinne,  and  dated  1729,  in 
the  Haarlem  Museum. 

VAN  DER  VLIET,  Hendrik  Cornelisz,  painter, 
was  the  nephew  of  Willem  van  der  Vliet,  and  was 
born  at  Delft  about  1612.  He  was  the  pupil  of  his 
uncle  and  of  Michiel  Mierevelt.  For  some  time  he 
practised  portraiture,  but  afterwards  distinguished 
himself  as  a  painter  of  perspectives  and  views  of 
church  interiors  in  the  style  of  Emanuel  de  Witte. 
He  often  painted  scenes  by  torch-light.  His 
pictures  are  decorated  with  figures  correctly 
drawn.  He  showed  much  skill  in  his  management 
of  chiaro-scuro,  and  in  some  of  his  pictures  intro- 
duced effects  of  light  in  the  manner  of  Schalcken. 
He  died  at  Delft,  in  October,  1676.  The  following 
are  well-known  works  by  him : 

The  Old  Church  of  Delft.  1654. 
Female  portrait. 
Interior  of  a  Gothic  chnrch. 
Tlie  old  Soldier  and  his  Family. 
Two     Gothic     interiors,     with 

figures. 
Female  portrait.     1671. 
The  New  Church  of  Delft. 
Interior  of  a  Gothic  Church. 
Interior  of  a  Protestant  Church. 

with  figures. 


Amsterdam.  R.  Museuvi. 


Berlin. 

Copenhagen. 
Ghent. 


Museum. 
Museum. 
Museum, 


Haarlem.  Museum. 

Hague.  Museum. 

Munich.  Pimicuthek. 

Botterdam.  Museum. 


One  Hendrik  Willemsz  Van  der  Vliet,  who  is 
inscribed  in  the  Guild  at  Delft  in  16.82,  is  by  some 
assumed  to  be  identical  with  the  above,  by  others 
to  be  a  contemporary  artist.  The  Berlin  Catalogue, 
however,  says  that  his  death  in  1650  is  recorded  in 
the  Registers,  which  would  establish  his  separate 
identity. 

VAN  DER  VLIET,  Jan  Joris,  a  Dutch  painter 
and  etcher,  was  bom  at  Delft  about  1610,  and  was 


one  of  the  numerous  disciples  of  Rembrandt.  Of 
his  works  as  a  painter  little  is  known.  In  the 
Berlin  Museum  a  '  Rape  of  Proserpine,'  long 
ascribed  to  him,  is  now  given,  on  the  authority  of 
Waagen  and  others,  to  Rembrandt  himself.  The 
Rotterdam  Museum  has  a  portrait  of  an  old  man 
in  Oriental  costume  by  him.  The  date  of  his 
death  is  unknown.  He  has  left  about  ninety 
etched  plates,  most  of  which  are  after  Rembrandt, 
a  few  after  J.  Lievens,  and  some  from  his  own 
designs.  They  produce  a  striking  effect ;  the 
lights  being  broad  and  clear,  and  the  shadows 
dark.  His  drawing,  however,  is  incorrect,  and  his 
draperies  clumsy  and  mannered.  He  sometimes 
signed  liis  plates  with  his  name,  and  sometimes 
used  a  monogram.  The  following  are  his  principal 
works : 

Bust  of  a  Man,  with  his  face  in  shadow.     1634.    After 

Remhrandt. 
Bust  of  an  old  Man,  with  a  turban  aod  aigrette.    Do. 
The  Head  of  a  "Warrior.     Do. 
An  old  Man  with  his  hands  joined,  apparently  in  grief. 

1634.     Do. 
Bust  of  an  Oriental  Character,  with  a  fur  cap.    Do. 
An  Old  Woman  reading.     (One  of  his  best  prints.)    Do. 
"Woman  laughing.     Do. 
Lot  and  his  Daughters ;  very  fine.    Do. 
The  Baptism  of  the  Eunuch.    Do. 
St.  Jerome  praying   in  a  cavern,  with  a  book  and  a 

crucifix.     (His  finest  print.)    Do. 
Jacob  obtaining  his  Father's  Blessing  instead  of  Esau ; 

after  Lievens. 
Susanna  and  the  Elders.    Do. 
The  Resurrection  of  Lazarus.    Do. 

An  Assembly  of  Peasants  regaling ;  after  his  own  design. 
The  Rat-catcher.     Do. 

A  set  of  tweuty-two  plates  of  the  Arts  and  Trades.  Do. 
The  five  Senses.    Do. 

VAN  DER  VLIET,  Wili.em,  born  at  Delft  in 
1584,  painted  historical  subjects  and  portraits 
somewhat  in  the  dry  style  of  Mierevelt.  His 
works  are  rare,  and  little  is  known  of  nis  life.  He 
died  in  1642.  The  National  Gallery,  the  Brussels 
Museum,  and  the  Liechtenstein  Gallery  contain 
portraits  by  him. 

VAN  DER  VOORT,  Cornelis,  (or  Van  der 
Voerst,)  a  portrait  painter  of  the  Dutch  school, 
was  born  at  Antwerp  about  1576.  He  settled  at 
Amsterdam,  and  studied,  perhaps,  under  Cornelius 
Ketel.  He  died  at  Amsterdam  in  1632.  In  the 
Museum  of  that  city  there  are  seven  of  his  works. 
His  son  PiETER  was  also  a  painter. 

VAN  DER  VoORT,  Michiel,  (or  Vervoort,) 
an  obscure  painter  and  engraver,  who  flourished 
about  1745.  His  name  is  affixed  to  a  spirited 
etching,  representing  boys  playing  with  musical 
instruments. 

VAN  DER  "WAL,  J.,  an  obscure  Dutch  painter, 
bom  at  the  Hague  in  1728.  He  became  a  member 
of  the  Academy  at  the  Hague  in  1775,  and  about 
that  year  settled  at  Amsterdam.     He  died  in  1788. 

VAN  DER  WAL,  Jakob,  a  Dutch  painter,  born 
at  Haarlem  in  1644.  He  was  a  pupil  of  Adriaen 
Van  Ostade,  and  was  dean  of  tlie  Guild  of  S.  Luke 
in  1688.     He  died  in  1720. 

VAN  DER  WALL,  Willem  Rutqaart,  born  at 
Utrecht  in  1756,  was  an  excellent  painter  of  land- 
scapes and  animals  ;  he  also  drew  the  figure  with 
remarkable  correctness.  He  was  the  instructor  of 
Jan  Kobel.  He  was  received  into  the  Painters' 
Guild  in  1795,  and  died  in  his  native  city  in  1813. 

VAN  DER  WERFF,  Adriaan,  was  born  at 
Kralinger-Arabacht,  near  Rotterdam,  in  1659. 
Having  discovered  an  early  disposition  for  art,  he 

253 


A  BIOGRAPHICAL  DICTIONARY  OP 


was  placed  under  the  care  of  Cornelia  Picolet,  a 
portrait  painter,  under  whom  he  remained  two  years, 
after  whicli  he  worked  under  Eglon  van  der  Neer. 
When  he  was  seventeen  years  of  age  he  left  Van 
der  Neer,  and  estabhshed  himself  at  Rotti-rdam. 
He  became  intimately  acquainted  with  a  M.  Flink, 
who  possessed  a  collection  of  Italian  drawings,  to 
which  he  had  at  all  times  access,  and  it  was  from 
these  that  he  formed  that  coldly  correct  method 
of  design  which  used  to  be  so  much  admired.  In 
1696,  the  Elector  Palatine  visited  Holland,  and, 
in  passing  through  Rotterdam,  was  particularly 
struck  with  the  works  of  Van  der  Werff.  He  com- 
missioned him  to  paint  a  'Judgment  of  Solomon,' 
and  his  own  portrait,  for  the  Grand  Duke  of 
Tuscany,  inviting  him  to  bring  the  two  pictures, 
when  tinishfd,  to  Diisseldorf.  The  following  year 
Van  der  WerfE  delivered  his  pictures,  which  were 
so  greatly  admired  that  the  painter  had  to  engage 
to  devote  six  months  in  the  year  to  the  service  of 
the  Elector,  for  which  he  received  a  liberal  pension. 
In  1703  Van  der  Werff  was  ennobled,  and  in  1722 
he  died,  at  Rotterdam.  Van  der  Werff  made  some 
attempts  in  modelhng ;  he  was  also  author  of  the 
plans  for  the  Rotterdam  Exchange.  List  of  his 
more  notable  and  accessible  works : 


Amsterdam,        Museum. 


Berlin. 

Dresden. 


Dublin. 
Edinburgh. 

Glasgow. 

>» 
Hague. 


Museum. 
Gallery. 


Nat.  Gal. 

Nat.  Gal. 

Gallery. 

t' 

Museutn. 


London.       Duhmck  Gal. 
„      Btichivylutm  Pal. 

MuDich.        Finakothek. 

Paris.  Louvre. 

Petersburg.    Hermitage. 

Kotterdam.       Museum. 

Vienna.  Gallery. 


Family  Group,  with   bis   own 

Portrait,  and  those  of  AVife 

and  Daughter. 
[And  seven  others.) 
Pastoral  scene. 
The  Judgment  of  Paris. 
The  Departure  of  Hagar. 

{And  ten  others.) 
Portrait  of  an  old  lady. 
A  Burgomaster  and  his  wiff. 
Samson  and  Delilah. 
Two  female  portraits. 
The  Flight  into  Egypt.     1710 
A  Portrait. 

The  Judgment  of  Paris. 
Lot  and  his  daughters. 

{And  two  others.) 
Nocturnal  Concert. 

(And  thirty-three  others.) 
Adam  and  Eve. 

{And  six  others.) 
Batbsheba  presenting  Abishag 

to  David. 
The  Entombment. 
Charity. 
Male  portrait. 


VAN  DER  WERFF,  Pieter,  the  younger  brother 
of  Adriaan  van  der  Werff,  was  born  at  Kralinger- 
Ambacht  in  1665,  and  was  instructed  in  art  by 
his  brother.  He  for  some  time  confined  himself  to 
copying  the  works  of  the  latter  ;  but  he  afterwards 
painted  pictures  of  his  own,  occasionally  history, 
but  more  frequently  domestic  subjects  and  small 
portraits,  in  which  he  was  much  employed.  One 
of  his  best  pictures  is  a  group  portrait  of  Directors 
of  the  Dutch  East  India  Company.  Without 
equalling  those  of  his  brother  in  finish,  the  pictures 
of  Pieter  van  der  Werff  are  highly  wrought.  He 
died  at  Rotterdam  after  1721.  The  Amsterdam 
Museum  has  five  pictures  by  him,  that  of  Rotter- 
dam, six,  including  his  own  portrait. 

VAN  DER  WEYDEN,  Goswin,  son  of  Peter 
and  Katherine  van  der  Noot,  born  at  Brussels  in 
1465,  settled  at  Antwerp  and  was  admitted  as  free 
master  into  the  Guild  of  St.  Luke ;  he  is  noted  as 
having  had  numerous  apprentices  from  1503  to 
1517.  He  was  chosen  Dean  of  the  Guild  in  1514, 
and  again  in  1530.     In  1535  he  painted  a  triptych 

254 


for  the  Praemonstratensian  Abbey  of  Tongerloo, 
representing  the  '  Death,  Assumption,  and  Corona- 
tion of  the  Blessed  Virgin.'  He  was  still  hving  at 
Antwerp  in  1538.  By  his  second  wife,  a  sister  or 
near  relation  of  the  miniaturist,  Simon  Benninc,  he 
had  one  son,  Roger.  W.  H.  J.  W". 

VAN  DER  WEYDEN,  Peter,  second  son  of 
Roger  and  Elisabeth  Goffarts,  born  in  1437,  no 
doubt  formed  by  his  father,  probably  painted  some 
of  the  pictures  generally  attributed  to  his  nephew 
Roger  the  younger,  but  up  to  the  present  time  no 
documentary  evidence  as  to  his  work  has  been 
discovered.  W.  H.  J,  W. 

VAN  DER  WEYDEN,  Roger,  the  younger,  son 
of  Goswin  ;  admitted  as  free  master  in  1528  into 
the  Antwerp  Guild;  received  as  apprentice  in 
1536  one  -John  De  Jonglie.  He  was  still  living  in 
April  1537,  but  died  before  July  1543.  By  his 
wife,  Anne  Mannaerts,  he  had  three  children  : 
Anthony,  a  carpenter ;  Katherine,  married  to 
Lauibert  Rycx,  suruained  Robbesant,  a  painter ; 
and  Roger,  who  was  in  1552  still  a  minor.  Nothing 
is  known  of  any  pictur-  that  he  may  have  painted  j 
the  works  attributed  to  him  by  Passavant,  Waagen, 
and  the  National  Gallery  Catalogue  were  certainly 
painted  before  1528.  W.  H.  J.  W. 

VAN  DER  WEYDEN,  (or  De  i.a  Pasture,) 
RoQiER  (or  Roger),  son  of  Henry  De  la  Pasture,  was 
born  in  1399  or  1400  at  Tournay,  where  the  family 
were  settled  in  1260.  Roger  was  apprenticed, 
March  5,  1427,  to  Robert  Campin,  who  was  also 
the  master  of  James  Daret ;  he  was  already 
married  and  the  father  of  one  son  when  he  com- 
menced his  apprenticeship.  As  he  is  styled  Master 
Roger  in  a  document  of  tlrat  date  he  had  no 
doubt  previously  practised  some  other  craft,  in  all 
probabihty,  judging  by  the  modelling  of  his  figures, 
that  of  a  goldsmith.  He  was  made  free  master  of 
the  Guild  of  St.  Luke,  August  1,  1432.  In  or 
before  1435  he  removed  to  Brussels  and  was  made 
Painter-in-Ordinary  to  the  municipality  of  that 
town  ;  the  date  of  his  appointment  is  not  known, 
hut  it  must  have  been  some  time  before  May  2, 
14.36,  on  which  day  it  was  decided  "  that  after 
Master  Roger's  death  the  office  of  town-painter 
should  be  abolislied."  Roger  painted  for  the  Town 
Hall  four  pictures:  'The  Emperor  Trajan  punish- 
ing a  murderer,'  'St.  Gregory  praying  for  him,' 
'  Herkenbald  beheading  his  own  son,  guilty  of 
violating  a  maiden,'  and  his  '  Miraculous  Com- 
munion ' ;  these  perished  during  the  bombardment 
of  1695,  or  in  the  fire  of  1731.  The  latest  descrip- 
tion of  them  is  that  by  De  Monconys,  who  visited 
Brussels  in  July  1663.  Roger's  designs  are  pro- 
bably to  some  extent  preserved  in  three  tapestriea 
at  Berne.  As  early  as  1449  Cyriacns  of  Ancona 
mentions  Roger  as  a  remarkable  painter,  and  a  few 
years  later  Facio  speaks  of  him  as  a  pupil  and 
compatriot  of  John  van  Eyck.  These  statements 
were  copied  by  Vasari,  and  by  subsequent  writers 
down  to  our  own  time,  but  research  in  the  archives 
and  more  careful  criticism  have  proved  them  to  be 
incorrect.  Roger's  master,  Campin,  came  from 
the  same  district  as  the  Van  Eycks,  and  was  pro- 
bably trained  in  the  same  school.  Roger  was  far 
more  religious  tlian  John  van  Eyck ;  his  figures 
are  less  naturalistic,  and  their  attitude  and  expres- 
sion more  animated  and  dramatic.  He  apparently 
strove  to  express  the  tenderness,  compassion  and 
grief  which  he  himself  felt  when  meditating  on  the 
episodes  he  was  representing.  In  1439  he  poly- 
chromed  for  Philip,  Duke  of  Burgundy,  an  altar- 


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PAINTERS  AND  ENGEAVEKS. 


reredos  in  the  church  of  the  Friars  Minor  at 
Brussels,  carved  by  John  van  Evere  ;  it  repre- 
sented '  Our  Lady  and  Child  enthroned,'  with  kneel- 
ing figures  of  Mary  of  Evreux,  Duchess  of  Brabant, 
and  Mary  her  daughter;  the  sculptor  was  paid 
thirty-eight  ridders  of  four  gros  each,  and  Roger 
forty  ridders  of  fifty  gros  each,  Flemish,  besides 
six  livres  for  painting  the  arms  of  the  Duke  and 
Duchess  on  the  shutters.  In  1449  he  went  on  a 
pilgrimage  to  Rome  for  the  jubilee,  and  visited, 
amongst  other  towns,  Ferrara  and  Jlilan,  and 
perhaps  also  Florence.  For  Lionel  of  Este  he 
painted  'The  Expulsion  of  Adam  and  Eve  from 
Paradise,'  'The  Descent  from  the  Cross,'  and  the 
portrait  of  the  donor  kneeling,  which  was  long- 
preserved  in  the  palace  of  Belfiore.  After  his 
return  to  Brussels  he  received  from  Paul  Pogio,  a 
Lucchese  merchant  established  at  Bruges,  twenty 
ducats  of  gold  on  account  of  these  paintings.  On 
June  16, 1455,  he  was  commissioned  by  John,  abbot 
of  St.  Aubert  of  Cambrai,  to  paint  a  picture  with 
two  stories,  which  he  completed  and  delivered  on 
Trinity  Sunday  1459,  when  be  was  paid  eighty  gold 
ridders  of  forty-three  shilUngs  and  fourpence  each, 
Cambrai  currency. 

Roger  was  a  prosperous  craftsman  ;  he  lived  at 
Brussels  in  a  house  of  bis  own  at  the  corner  of  the 
Montague  de  la  Cour.  His  wif.',  Elisabeth  GofEarts, 
bore  him  four  children — Cornelius,  Master  of  Arts 
of  Louvain,  who  became  a  Cartliusian  at  H^rinnes 
near  Enghien,  where  he  died  in  1473 ;  Margaret 
(born  1432,  died    1450) ;    Peter,   a   painter   (born 

1437,  died    1514);    and  John,   a  goldsmith  (born 

1438,  died  1468).  Roger  was  a  member  of  the 
confraternity  of  the  Holy  Cross,  establislied  in  the 
church  of  St.  James  on  the  Coudeuberg,  Brussels. 
He  is  recorded  to  have  been  a  benefactor  of  the 
Charterhouses  of  Sebeut  and  H^rinnes,  to  tlie 
latter  of  which  he  gave  four  hundred  crowns.  He 
died  at  Brussels,  June  16,  1464,  and  liis  widow  in 
November  or  December  1479.  Tliey  were  buried 
in  the  nave  of  the  church  of  SS.  Michael  and 
Gudula.  An  immense  number  of  pictures  are 
attributed  to  him.  The  following  appear  to  be 
certaiidy  by  him : 

Berlin.  Gallery.     Altar-piece,  in  three  divisions, 

called  tlie  Joys  and  Sorrows 
of  Our  Lady  of  Pity.  {aiiT,i 
by  John  II.  in  144.5  ti>  the 
Charterhouse  of  Alirajiures^ 
near  Buryos.) 
„  „  Altar-piece :   Ttie  Birth  of  St. 

John  the  Baptist,  the 
Baptism  of  Christ,  and  the 
Beheading  of  St.  John. 
{Prohahly  from  the  church  of 
St.  James  at  Bi-uifes.) 
„  „  Triptych :    The    Adoration    of 

the  Magi,with  kneeling  figure 
of  the  donor,  Peter  Bladeiiu, 
the  Vision  of  Ai-a  Caeli,  aud 
the  Star  appearing  to  the 
Magi. 

Escorial.  Gallery.    Christ  on  the  Cross,  the  Blessed 

Virgin  and  St.  John.     (Life- 
size  ;  from  the  Charterhouse 
of  Scheiit.) 
fj  „  The   Descent  from  the  Cross. 

{Irom  the  church  of  St.  Mart/- 
outside~the- H'a/ls,  Louvain.) 

Frankfort.     Stddel  Inst.     Our  Lady  and  Child,  SS.  Peter, 
John   the    Baptist,   Cosmas, 
aud  Damian. 
»  ,,  The  Birth  of  John  the  Baptist, 

Baptism  of  Christ,  and  Be- 
heading of  St.  John. 


Madrid.  Frado.     Triptych  :  The  Expulsion  from 

Paradise,  Christ  on  the 
Cross,  the  Blessed  Virgin  and 
St.  John  with  the  seven 
Sacraments  and  episodes  of 
the  Passion,  and  the  Last 
Judgment ;  on  the  exterior, 
the  Tribute-money.  {From 
the  convent  of  the  Holy  Angels, 
3Tadrid.) 

Munich,  Gallery.     Triptych :    The   Anuunciation, 

Adoration  of  the  Magi,  aud 
Presentation  in  the  Temple. 

The  following  are  the  best  of  those  attributed  to 
him  on  more  or  less  probable  grouuds  : 


Antwerp.  Museum.. 


Beauue. 


St.  John^s  \ 
Hospital. ) 


Brussels.  Museum. 

,,  M.  Mafthys. 

Florence.  Offices. 

Lille.  Museum. 


London.    Earl  of  North- \ 
brook.  J 

Munich.  Gallery. 

Paris.  M.  R.  Kann. 


Petersburg.    Hermitciije. 
Vienna.  Gallery. 

Woerlitz.  DukeofAnhalt. 


Triptych:  The  Seven  Sacra- 
ments. {Painted  for  John 
Chevrot.  Bishop  of  Toumay.) 
1437-1467. 

Triptych :  The  Last  Judgment, 
Annunciation,  SS.  Sebastian 
and  Anthony,  and  the  douors, 
Kicholas  Rolin  and  wife. 
1447. 

Our  Lady  of  Pity  with  SS. 
John  and  Mary  Magdalene. 

Our  Lady  aud  Child. 

The  Entombment. 

Our  Lady  aud  Cliild  and 
Angels.  {From  the  abbey  of 
St.  Berlin,  St.  Omer.) 

Our  Lady  and  Child  enthroned 
in  a  porch  with  the  Seven 
Joy.s. 

St.  Luke  paintiug  Our  Lady 
and  Child. 

The  Armuuciation.  (Painted 
for  a  inemher  of  the  De  Clue/ny 
family,  probably  for  IVilliaut, 
Canon  of  Toumay.) 

St.  Luke  painting  Our  Lady 
and  Cliild. 

Our  Lady  and  Child.  {Pro- 
bably that  mentioned  by  M.  A. 
Michiel  as  in  the  Casa  Ven- 
draminiat  Venice  in  1530.) 

Portrait  of  a  Young  Woman. 
W.H.J-W. 


VAIS  DER  WILLINGEN,  Pieter,  wag  born  at 
Bergen-op-Zoom  about  1607.  He  painted  still-life, 
gold  and  silver  vases,  books,  and  musical  instru- 
ments, which  are  highly  finished,  and  produce  a 
truthful  effect.  He  practised  at  Antwerp,  and  died 
in  1694.  His  brother  and  pupil,  Jan,  also  worked 
at  Antwerp,  and  died  there  in  1693. 

VAN  DER  WILT,  Thomas,  a  Dutch  paintei 
and  mezzotint  engraver,  was  born  at  Piershil 
in  1659.  He  was  a  pupil  of  Jan  Verkolje,  and. 
painted  portraits  and  genre  subjects  in  the  style  of 
Poelenburg.  He  exercised  his  profession  at  Delft, 
and  died  there  in  1733.  In  the  Berlin  Gallery  there 
is  an  interior,  with  a  lady  and  gentleman  playing 
draughts,  by  him.  He  scraped  several  plates  after 
Brouwer,  Schalken,  and  other  masters. 

VAN  DER  WILT,  F— ,  painter  and  mezzotint 
engraver,  was  a  contemporary  of  Thomas  Van  der 
Wilt.  Nagler  ascribes  two  plates  to  him,  but  little 
is  known  of  his  life. 

VAN  DER  WUESTINE,  Rogee,  a  painter  of 
Ghent,  whose  name  appears  in  records  of  1382  and 
1383  ;  no  work  of  his  is  known.  He  was  doubtless 
related  to  Bernard  and  Siger  van  der  Woestine, 
members  of  the  Ghent  Guild  in  1356,  and  the 
latter  Dean  in  1366-67.  w.  H,  J.  TV. 

VANDI,  Santi,  an  Italian  portrait  painter,  born 
in  1653.  He  was  a  pupil  of  Cignani.  In  early  life 
he  painted  at  Bologna,  but  was  afterwards  em-. 

265 


A   BIOGRAPHICAL   DICTIONARY  OF 


ployed  at  Mantua,  and  other  cities  in  Central  Italy. 
He  had  constant  commissions,  and  left  a  great 
number  of  portraits,  chiefly  of  a  small  size.  He 
died  at  Loreto  in  1716. 

VANDIEST.     See  DiEST,  Van. 

VANDYCK  (or  Vandyke).     See  Dyck,  Van. 

VANDYKE,  Peter,  an  Anglo-Flemish  portrait 
painter,  was  born  in  1729.  At  the  invitation  of  Sir 
Joshua  Reynolds,  he  came  to  England  and  worked 
as  his  assistant.  He  afterwards  settled  at  Bristol, 
where  he  obtained  a  good  practice.  Several  of  his 
works  appeared  at  the  Incorporated  Society,  and 
at  the  Free  Society  between  1762  and  1772.  There 
are  by  him : 
London.  Nat.  Port.  Oall.    Portrait  of  Coleridge. 

„  „  „        Southey. 

VANQELISTI,  Vincenzio,  an  Italian  engraver, 
was  born  at  Florence  about  1740.  He  visited 
Paris  when  young,  where  he  became  a  pupil  of 
Ig.  Hugford  and  Johann  Qeorg  Wille.  Leopold 
II.  invited  hira  in  1766  to  Milan,  where  he  became 
professor  in  the  Academy,  and  in  1790  first  director 
of  the  School  of  Engraving  instituted  by  that 
prince.  He  committed  suicide  in  1798,  having 
previously  defaced  his  plates.  He  had  several 
pupils,  who  distinguished  themselves  as  engravers; 
among  thera,  Longhi,  who  succeeded  him,  and  F. 
Anderloni.  His  masterpiece  is  the  '  Pyramus  and 
Thiabe,'  from  a  picture  attributed  to  Guido,  but  in 
reality  by  De  la  Hire.  The  following  plates  are 
also  by  him  : 

Armand  de  Bourbon,  Prince  de  Oond£. 

Georges  Louis,  Oomte  de  Buffon  ;  after  A.  de  Pujol. 

Satyr  and  Nymph  ;  after  Van  Loo. 

The  Virgin  and  Ohild  ;  after  Raphael. 

Venus  chastising  Oupid ;  after  Agost.  Carracci. 

VAN  LERIUS,  J.  H.  F.,  a  Dutch  artist,  born 
near  Antwerp  in  1823.  He  was  educated  at  the 
Academy  of  Brussels,  and  then  entered  the  studio 
of  Baron  Wappers,  from  whom  he  received  the 
greatest  attention.  He  commenced  his  artistic 
career  painting  portraits,  but  was  attracted  by 
subject  pictures,  and  will  be  remembered  more  by 
them  than  by  his  portraiture.  He  became  Pro- 
fessor of  Painting  in  the  Academy  of  Antwerp, 
received  the  Order  of  Leopold  from  the  King  of 
the  Belgians,  and  was  an  honorary  member  of  the 
Academies  of  St.  Luke,  Vienna,  Rotterdam,  Am- 
sterdam, and  Saxony.  His  work  at  one  time  at- 
tracted considerable  attention  in  England,  and 
two  of  his  pictures  were  bought  by  Queen  Victoria. 
He  was  fond  of  English  subjects,  and  such  pictures 
as  '  Leicester  and  Amy  Robsart,'  '  Milton  dictating 
to  his  Daughter,'  '  The  Golden  Age,'  and  '  Lady 
Godiva,'  were  amongst  his  most  popular  works. 
He  exhibited  in  Paris  and  at  Munich.  The  Modem 
Museum  at  Brussels  has  several  examples  of  his 
paintings,  and  three  of  his  pictures  are  in  New 
York.     He  died  in  1876.  G.  C.  W. 

VANLOO.     Spe  Loo. 

VANMANDER.    See  Mander. 

VANNI,  Andkea,  or,  to  give  him  his  true  name, 
Andrea  di  Vanni  d'Andkea,  was  born  at  Siena  in 
or  about  the  year  1333.  Until  ver}'  recently  his 
fame  has  rested  far  more  upon  his  reputed  friend- 
ship with  his  great  countrywoman,  St.  Catherine 
Benincasa,  and  upon  his  various  services  as  a 
statesman  and  a  politician,  than  upon  his  achieve- 
ments as  an  artist.  That  his  friendship  with  St. 
Catherine  was  more  than  a  mere  tradition  is  proved 
by  some  of  that  saint's  letters,  which  are  directly 
addressed  to  him,  and  which  contain,  apart  from 

256 


other  matter,  much  good  and  wholesome  spiritual 
guidance  and  advice.  Andrea's  official  record  as  a 
public  servant  of  his  native  state  is  a  long  and 
honourable,  if  not  a  brillinnt,  one.  As  early  as 
1363  he  seems  to  have  had  a  foretaste  of  official 
service,  for  in  that  year  we  know  him  to  have 
been  one  of  a  deputation  sent  to  meet  the  newly- 
chosen  Podesti.  His  participation  in  the  popular 
uprising  of  1368,  which  ended  in  the  defeat  and 
expulsion  of  the  nobles,  and  the  creation  of  the 
new  government  of  the  Riformatori,  seems,  how- 
ever, to  have  been  his  initial  step  in  active 
politics.  During  the  years  which  immediately 
followed,  we  find  him  in  the  almost  continual 
occupation  of  numerous  official  and  diplomatic 
posts.  Thus,  in  1368,  he  was  already  Castellane 
of  the  Cassero  of  Montalcino,  and  in  1369  was  one 
of  the  electors  of  the  new  Senator.  In  1370  he 
himself  was  elected  a  member  of  the  Grand  Council, 
and  in  the  following  year  he  was  chosen  Gon- 
faloniere  of  the  Terzo  di  San  Martino.  In  1372 
he  was  again  sitting  in  the  Grand  Council,  and  in 
the  same  year  was  sent  as  Sienese  Ambassador  to 
the  Papal  Court  at  Avignon.  In  1373  he  exercised 
the  functions  of  Priore  de'  Riformatori,  and  was 
shortly  afterwards  entrusted  with  a  delicate 
diplomatic  mission  to  Florence.  In  1376  he  held 
the  offices  of  Rector  of  the  Opera  del  Duomo 
and  Provveditore  of  the  Biccherna.  Two  years 
later,  in  1378,  he  took  part,  again,  as  syndic,  in 
the  senatorial  election,  and  in  1379  was  chosen 
Captain  of  the  People.  He  sat,  for  the  third  time, 
in  the  Grand  Council  of  1380,  and  in  1383-1384 
was  filling  the  position  of  Ambassador  to  the 
Pope  at  Naples.  Soon  after  this  he  appears  to 
have  more  or  less  retired  from  public  life,  possibly 
in  order  to  devote  himself  more  wholly  to  the 
practise  of  his  art.  Until  lately,  Andrea's  gener- 
ally acknowledged  works  were  but  three  in 
number— a  large  and  elaborate  polyptych  repre- 
senting the  'Virgin  and  Child  with  various  attendant 
Saints,'  in  the  church  of  Santo  Stefano  at  Siena ; 
a  fragmentary  panel  of  the  'Crucifixion,'  once  form- 
ing part  of  a  large  altar-piece,  in  the  Communal 
Gallery  of  that  town-  and  the  well-known  portrait 
in  fresco  of  St.  Catherine,  in  the  church  of  San 
Dominico.  Of  these  three  works  only  the  polyptych 
at  Santo  Stefano  is  authenticated  by  existing 
records.  According  to  Tizio  it  was  painted  in 
1400  for  the  church  in  which  it  now  stands.  As 
it  is  in  an  excellent  state  of  preservation,  it  affords 
us  an  opportunity  for  becoming  well  acquainted 
with  the  peculiar  characteristics  of  Vanni's  manner 
at  this  comparatively  late  period  of  his  develop- 
ment. Basing  the  study  of  his  style  upon  this 
important  work,  modern  connoisseurship  has 
recently  been  enabled  to  reconstruct  in  a  great 
measure  Andrea's  half-forgotten  artistic  person- 
ality, and  to  restore  to  him,  as  their  true  author, 
a  number  of  works  which  have  hitherto  passed 
under  other  and  better-known  names.  Thus  we 
have  in  the  church  of  San  Francesco  at  Siena,  two 
paintings  clearly  by  his  hand — a  large  fresco, 
unfortunately  much  damaged  and  restored,  of  the 
'Virgin  and  Child  Enthroned,'  generally  ascribed  to 
Ambrogio  Lorenzetti ;  and  a  very  striking  picture 
of  the  '  Madonna  and  Child,'  on  panel,  attributed  to 
Ambrogio's  elder  brother  Pietro,  which  was 
probably  once  the  central  portion  of  a  large  altar- 
piece  which  Andrea  is  recorded  to  have  painted 
for  the  Franciscans  at  about  the  same  period  in 
which  he  executed  the  great  polyptych  at  Santo 


ANDREA  VANNI 


IC/ia/i/  o/SS.  Chiodi  ill  the  Church  of  San  Dtniato.  Sisna 
MADONNA  AND  CHILI) 


PAINTERS  AND  ENGRAVERS. 


Stefano.  Other  works  by  the  master  are  to  be 
found  in  his  native  town,  in  the  chapel  of  the 
SS.  Chiodi,  in  San  Giovannino  della  Staffa,  in 
Santo  Spirito,  and  in  the  Saracini  Collection,  as 
well  as  in  the  church  of  the  former  monastery  of 
Sant'  Eugenic,  near  Siena.  Another  of  his  works, 
held  in  great  veneration  as  a  sacred  picture,  is  in 
the  pilgrimage  church  of  Montenero,  near  Leghorn. 
In  England,  the  Fitzwilliam  Museum  at  Cambridge 
possesses  a  characteristic  Madonna  by  his  hand. 
A  very  charming  example  of  Vanni's  art  is  to  be 
seen  in  a  little  picture  of  the  '  Virgin  and  Child  '  in 
the  collection  of  Mr.  Berenson  at  Florence,  to 
whom  also  belongs  a  very  interesting  panel  of  the 
'  Deposition '  by  the  master.  But  perhaps  the  most 
attractive  picture  that  can  be  attributed  to  Vanni 
is  the  beautiful  free  copy  of  Simone  Martini's 
famous  '  Annunciation  '  (now  in  the  Uffizi),  which 
hangs  in  the  church  of  S.  Pietro  Ovile  at  Siena. 
This  fine  work,  which  has  caused  endless  discussion 
among  critics  and  connoisseurs,  is  still  given  by 
some  writers  to  Lippo  Memmi,  and  by  others  to 
Sassetta.  It  bears,  however,  all  the  character- 
istics of  Andrea's  art,  especially  as  we  learn  to 
know  them  in  such  works  as  Mr.  Berenson's 
Madonna.  All  the  above-mentioned  works  evi- 
dently belong  to  the  latter  half  of  Andrea's  career, 
and,  in  the  lack  of  any  authenticated  paintings  of 
his  earlier  years,  it  is  difficult  to  pronounce  with 
certainty  upon  the  beginnings  of  his  artistic 
education  and  development.  He  was,  however, 
in  all  probability,  a  pupil  of  Lippo  Memmi,  but  like 
almost  all  the  semi-eclectic  Sienese  painters  of  his 
day,  was  strongly  influenced  by  the  example  of  the 
Lorenzetti  as  well. 

The  earliest  record  of  his  artistic  activity  is  one 
of  1353,  in  which  year  he  appears  to  have  been 
associated,  as  a  partner  in  the  practise  of  his  art, 
with  Bartolo  di  Fredi,  whose  name  but  slightly 
precedes  his  own  on  the  Sienese  Roll  of  Painters. 
The  outward  similarity  of  much  of  Andrea's  work 
to  that  of  Bartolo  would  lead  us  to  believe  not  only 
that  both  acquired  their  artistic  training  at  a 
common  source,  but  that  they  worked  together 
for  no  short  period  of  time.  The  difference  in  the 
spirit  of  their  work,  however,  is  such  as  to  prevent 
any  confusion  between  them.  Bartolo  was  the 
cleverer  technical  workman  of  the  two,  and 
possessed,  in  some  ways,  a  more  pronounced 
aptitude  for  purely  decorative  beauty  of  colour 
and  of  line,  but  Andrea  surpasses  him  in  depth  of 
feeling  and  seriousness  of  conception.  There  is  a 
quiet  solemnity  and  a  straightforward  sincerity 
about  many  of  Vanni's  figures  which  render  them 
at  times  most  strikingly  impressive.  It  is  this 
note  of  earnest  sincerity  which  is  the  dominant 
characteristic  of  his  art.  We  possess  records  of 
several  important  works  by  Andrea  which  have 
now  disappeared — records  which  prove  that  he 
was  as  much  in  demand  as  a  painter  as  he  was  for 
the  filling  of  public  offices.  In  1370  he  had  already 
completed  the  decoration  of  no  less  than  three 
chapels  in  the  cathedral  of  his  native  city,  and 
was  then  at  work  on  the  facade  and  ceilings  of 
the  same  building.  In  1372  he  painted  the 
gonfalon  of  the  Terzo  of  San  Martino.  In  1380 
he  was  again  at  work  on  the  facade  of  the  Duomo, 
and  in  1396  executed  a  large  altar-piece  for  the 
church  of  the  Alborino,  of  which  the  '  Crucifixion  ' 
in  the  Siena  Gallery  probably  formed  a  part.  In 
1398-1399  he  was  again  at  work  in  the  Duomo, 
and  decorated  the  chapel  of  San  Jacomo  Interciso 

VUL.  V.  S 


with  frescoes  of  the  life  of  that  saint,  into  which 
works  he  is  said  to  have  introduced  a  second  and 
once  famous  portrait  of  his  friend,  St.  Catherine  of 
Siena.  Andrea  is  known  to  have  worked  in  other 
and  distant  parts  of  Italy,  as  well  as  at  Siena,  and 
he  evidently  combined  the  exercise  of  his  art  with 
his  frequent  political  duties.  In  1384  he  was 
painting  as  far  afield  as  Sicily.  Of  the  various 
works  wliich  he  is  said  to  have  executed  in  Naples, 
none  remain  that  can  with  any  certainty  be  as- 
cribed to  him.  The  latest  notices  which  we  possess 
of  his  artistic  activity  are  of  1400,  in  which  year  he 
painted  the  altar-piece  at  Santo  Stefano ;  but  he  evi- 
dently lived  and  worked  well  into  the  new  century. 
His  death  took  place,  according  to  Milanesi,  in  or 
about  1414.  Vanni's  most  characteristic  follower 
was  his  younger  contemporary,  Paolo  di  Giovanni 
Fei,  the  master  of  the  great  Sassetta.  Much  of 
Fei's  work  is  so  strikingly  similar  to  that  of 
Andrea  as  easily  to  be  confounded  with  it  by 
those  not  closely  acquainted  with  these  two 
painters.  Pictures  by  him  exist  in  the  Minutolo 
Chapel  of  the  Cathedral  at  Naples,  in  different 
churches  and  galleries  of  his  native  town,  and 
in  certain  foreign  collections — almost  invariably 
under  other  names. 

Those  who  would  study  the  art  of  Vanni  and 
his  followers  more  closely,  may  consult  the  recent 
articles  by  Mr.  F.  Mason  Perkins  and  Mr.  Bernhard 
Berenson  in  the  'Burlington  Magazine'  (1903), 
as  well  as  the  notes  in  Milanesi's  and  Borglii  and 
Bianchi's  'Documenti  Senesi.'  List  of  principal 
works  : 

Cambridge.  Fitzmlliam  \  ^..^  ^^^  ^hild. 

Museum.^        ^ 
Florence.  Mr,  Berenson.     Madonna  and  Child. 
„  „  Deposition. 

Moutenero  church.  \  Madonna  and  Child. 

(Leghorn).  J 

Siena.  Academy.     Crucifixion. 

„  Santo  Stefano.     Large  polyptych. 

„  San  Francesco.     Enthroned  Madonna  {fresco). 

„  „  Madonna  and  Child. 

„  &S.  Chiodi.     Madonna  and  Child. 

„  Santo  Spirito.     Virgin,  Child,  and  Donor. 

„        San  Giovannino  J  Madonna. 
deiM  Sta^a.  j 

„  Saracini  Collection.     Annunciation. 


J'onastery  of}  gg   p^j^^  ^^^  pg„i 
Sant  hugemo. ) 


L.O. 


VANNI,  Cavaliere  Francesco,  was  born  at 
Siena  in  1565,  and  was  taught  the  rudiments  of 
design  by  his  step-father,  Arcangiolo  Salimbene, 
who  died  when  Francesco  was  still  very  young. 
When  he  was  sixteen  years  of  age  he  went  first  to 
Bologna  and  afterwards  to  Rome,  enteritig  the 
school  of  Giovanni  de'  Vecchi,  studying  also  under 
such  men  as  Baroccio,  whose  style  he  imitated 
with  success.  Returning  to  Siena,  he  afterwards 
worked  at  Parma,  Bologna,  and  again  at  Rome, 
where  he  painted  a  '  Simon  Magus '  for  St.  Peter's. 
He  painted  several  other  pictures  for  Roman 
churches  ;  the  most  important  are,  '  St.  Michael 
vanquishing  the  rebel  Angels,'  in  the  sacristy  of 
S.  Gregorio ;  a  '  Pieta,'  in  S.  Maria  in  Vallicella ; 
and  the  '  Assumption,'  in  S.  Lorenzo  in  Miranda. 
At  Siena  there  is  a  '  Marriage  of  S.  Catharine,'  in 
the  chapel  of  II  Refugio;  and  a  'S.  Raimondo  walk- 
ing on  the  Sea,'  in  the  church  of  the  Dominicans. 
Vanni  finally  returned  to  Siena,  and  died  there  in 
1609.  He  etched  a  few  plates.  The  following 
works  may  be  named  : 

257 


A   BIOGRAPHICAL   DICTIONARY   OF 


Dresden.  Gallery.  Holy  Family. 

Florence.  Pal.  Pitti.  S.  Francis  in  Ecstasy. 

„  UJJizi.  Joseph    made    known    to    his 
Brethren. 

Genoa.  Pal.  Spinnla.  S.  Catharine  of  Siena. 

Madrid.  Museum.  Tlie  three  Marys. 

Mouena.  Gallery.  Marriage  of  S.  Catharine. 

Paris.  Louvre.  The  Repose  in  Egypt. 

„  „  Martyrdom  of  S.  Irene. 

Rome.       Pal.  Quirinale.  Death  of  S.  Cecilia. 

Siena.  A'.  Quirico.  The  Fliglit  into  Egypt. 

„  Pinacoteca.  The  Magdalene. 

Vienna.  Gallery.  Christ  at  the  Column. 

VANNI,  Giovanni  Battista,  was  born  at  Pisa 
or  Florence  in  1599;  he  studied  successively 
under  Einpoli,  Aurelio  Lomi,  and  Matteo  Roselli, 
and  tl)en  became  a  disciple  of  Cristoforo  Alluri. 
Of  liis  works  as  a  painter,  the  most  important  is 
a  San  Lorenzo,  in  the  church  of  San  Simone,  at 
Florence.  He  is,  however,  better  known  as  an 
engraver  than  as  a  painter.  He  died  at  Florence 
in  1660.  Of  his  etchings,  the  following  are  the 
best: 

A  set  of  fifteen  Plates  from  Correc/gio's  frescoes  in  the 

cupola  of  San  Giovanni,  Parma. 
The  Martyrdom  of  S.  Placido ;  after  the  same. 
The  Marriage  at  Cana  ;  after  Paolo  Veronese 

VANNI,  Lippo,  a  Sienese  painter  and  miniaturist 
of  the  14tli  century,  was  a  contemporary  of  Luca 
di  Touim^,  Bartolo  di  Fredi,  and  Andrea  Vanni. 
The  exact  date  of  his  birth  is  not  known.  The 
first  records  of  his  activity  as  an  artist  date  from 
1344,  in  which  year  he  received  payment  for 
various  miniatures  executed  by  him  for  the 
hospital  of  Santa  Maria  della  Scala  at  Siena.  He 
seems  to  have  enjoyed  no  little  repute  as  a  painter 
in  his  day,  for  in  1352  he  was  awarded  the  im- 
portant commission  to  paint  a  fresco  of  the 
'  Coronation  of  the  Virgin '  for  the  hall  of  the 
Biccherna,  in  the  Palazzo  Pubblico.  This  painting 
was  replaced  a  century  later,  in  1445,  by  the 
beautiful  fresco  of  the  same  sulject  by  Sano  di 
Pietro  and  Domenico  di  Bartolo.  The  original 
signature  of  Lippo's  painting  still  remains,  how- 
ever, together  with  the  date,  on  the  wall  below 
Sano's  work.  In  1355  Lippo  heads  the  list  of 
names  enrolled  on  the  register  of  the  famous 
Guild  of  Sienese  Painters.  In  1360  he  was  elected 
a  member  of  the  supreme  magistracy  of  his  native 
city.  In  1372  he  painted  a  fresco  of  tlie  '  Annun- 
ciation' in  one  of  the  cloisters  of  San  Domenico  at 
Siena,  damaged  fragments  of  which  work  are  still 
to  be  seen.  These  fragments,  which  constitute 
the  only  authentic  remains  of  Lippo's  handiwork, 
are  unfortunately  in  too  ruinous  a  condition  to 
afEord  us  means  for  a  correct  or  satisfactory  know- 
ledge of  his  style.  In  1373  he  was  again  elected 
to  a  place  in  the  Grand  Council  of  the  Republic. 
The  last  notice  which  we  have  of  him  is  one  of 
1375,  recording  the  payment  for  work  done  on  the 
doors  of  the  great  crucifix  of  the  Duomo.  Works 
by  Lippo  doubtless  still  exist  under  other  names, 
but  are  unrecognizable  by  us  owing  to  our  ignor- 
ance of  the  true  characteristics  of  his  style.       L.  0. 

VANNI,  Nello  di,  a  Pisan  painter  of  the  14th 
century,  and  pupil  of  Andrea  Orcagna.  He  painted 
for  the  cathedral  of  his  native  town,  and  also 
worked  for  the  Cnmpo  Santo.  He  is  conjectured 
to  be  identical  with  Bbrnabdo  Nello  di  Giovanni 
Falcone,  q.  v. 

VANNI,  Raffabllo,  a  son  of  Francesco  Vanni, 
was  born  at  Siena  in  1596,  and  received  his  first 
instruction  from  his  father,  whom  he  lost,  however, 

258 


when  he  was  only  thirteen.     He  was  afterwards 

sent  to  Rome,  and  recommended  to  the  care  of 
Antonio  Carracci.  The  works  of  his  contemporary, 
Pietro  da  Cortona,  appear  to  have  had  a  peculiar 
fascination  for  him.  His  '  Birth  of  the  Virgin,'  in 
the  Pace,  is  entirely  Cortonesque ;  as  are  his 
paintings  in  Santa  Maria  del  Popolo.  There  is  a 
'  Marriage  of  S.  Catharine '  by  him  in  the  Pitti 
Palace,  and  other  pictures  at  Siena  and  Pisa.  He 
was  a  member  of  the  Academy  of  S.  Luke  in 
1655,  and  died  probably  in  1657.  His  brother, 
Michelangelo  Vanni,  is  better  known  as  the  in- 
ventor of  a  process  of  making  pictures  by  staining 
marble  than  as  an  artist  in  the  strict  sense. 

VANNI,  Torino,  painter,  was  born  at  Rigoli, 
a  small  village  near  Pisa,  in  the  14th  century. 
The  records  of  Pisa  show  that  he  worked  for  the 
cathedral  between  1390  and  1395.  He  was  an 
imitator  of  Taddeo  Bartoli.  In  the  church  of  San 
Paolo,  Ripo  d'Arno,  Pisa,  is  an  enthroned  Virgin 
and  Child  with  saints,  and  adored  by  four  kneeling 
figures,  signed  Tdrinos  Vannis  de  Reguli  depinxit 
a.d.  mccoxcvii.  madii.     He  has  also  left : 

Palermo.      Convent  of  S. )  Madonna    with     Angels     and 

Mar'tino.  j      Saints. 
Paris.  Louvre.     Madonna  (s'V/npii  TvrinvsVan- 

NII3  DE  Pisis  MS.  piQsrr). 

VANNINI,  Ottavio,  born  at  Florence  in  1585, 
was  first  a  disciple  of  Giovanni  Battista  Mercati, 
but  afterwards  studied  under  Anastasio  Fontebuoni, 
and  ultimately  entered  the  school  of  Passignano, 
whom  he  assisted  in  many  of  his  public  works. 
He  died  in  1643.  His  best  works  were  in  fresco. 
Pictures : 

Florence.  Ujfzi.     Tancred  and  Erminia. 

„  Pal.  Pitti.     Ecce  Homo. 

Pisa.  S.Anna.     The  Communion  of  St.  Jerome. 

VANNO,  Nello.     See  Vanni. 

VANNUCGI,  Pietro,  commonly  called  Pietro' 
Perugino.  It  is  not  quite  certain  when  Pietro 
Vannucci  (called  from  the  name  of  his  adopted 
town  Perugino)  was  born,  but  the  place  of  Iiia 
birtJi  he  himself  announces  in  his  signature. 
Probably  his  birth  took  place  in  1446  or  1447 
at  the  little  town  of  Castello  della  Pieve,  now 
called  Citti  della  Pieve.  His  signature  pre- 
serves, in  the  words  "  Petrus  de  Castro  Plebis," 
the  older  name  of  his  birthplace.  Vasari  gives 
his  father's  name  as  Christofano,  and  tells  us 
that  he  was  a  poor  man;  but  JIariotti  reminds* 
his  correspondent  that  the  family,  although  a 
poor  one,  was  not  of  low  condition,  as  it  had 
enjoyed  the  rights  of  citizenship  since  1427.  He 
also  mentions  that  one  Pietro  Vannucci  was  in 
1424  a  member  of  the  Guild  of  Stone-workers,  and 
that  in  1428  a  member  of  the  family  signed  himself 
proudly  as  citizen  of  Perugia.  It  is  probable  that 
Vasari's  story  of  the  boy  having  been  brought  into 
Perugia  at  a  tender  age  and  put  as  shop  drudge 
with  a  painter  in  that  city  is  correct. 

Vasari  speaks  of  the  unknown  painter  to  whom 
the  youthful  Pietro  Vannucci  was  sent  as  one  who 
"was  not  particularly  distinguished  in  his  calling, 
but  who  held  the  art  in  great  veneration  and  highly 
honoured  the  men  who  excelled  therein."  We 
enter  upon  a  curious  speculation  when  we  begin 
to  surmise  the  name  of  this  master.  Crowe  and 
Cavalcaselle  take  Bonfigli  as  this  early  master, 
while  later  writers,  notably  Mr.  Berenson,  attach 
far  more  importance  to  the  training  of  Fiorenzo  di 
>  Mariotti, '  Lettere  Pittoriche  Perugine,"  1788,  V.  12L 


PAINTERS  AND  ENGRAVERS. 


Lorenzo.  In  these  early  days  of  Perugino's  life,  it 
is  probably  to  the  influence  of  Niccol6  Liberatore, 
of  Fiorenzo  di  Lorenzo,  and,  above  all,  of  Piero 
della  Francesca,  that  we  attribute  the  growth  of 
his  art  and  the  success  of  his  later  life.  Morelli 
considers  that  Perugino's  journey  to  Florence  after 
his  Perugian  training,  of  which  Vasari  speaks,  took 
place  in  1470,  at  which  time  Perugino  would  be 
about  twenty-five  years  old.  His  name  is  recorded 
in  the  roll  of  St.  Luke  in  1472,  and  in  the  roll  of 
the  Physicians  in  1499.  What  is  of  special  im- 
portance to  notice  is  that  Perugino  did  not  go  to 
Florence  in  1472  as  a  mere  pupil  or  scholar. 

Eight  years  afterwards  he  was  engaged  upon 
work  in  the  Sistine  Chapel.  Vasari  specially  states 
that  the  invitation  for  tliis  work  was  given  because 
of  Perugino's  great  fame  throughout  Italy,  and  it  is 
clear  that  a  request  to  work  side  by  side  with  such 
men  as  Gliirlandajo,  Cosimo  Rosselli,  and  Botticelli 
was  a  high  compliment.  Prior  to  these  dates  we 
hear  of  two  other  works  executed  by  Perugino. 
The  earliest  of  all  is  recorded  by  Milanesi  in  his 
notes  to  the  life  of  Vasari.  He  states  that  in  1475 
Perugino  was  commissioned  to  paint  certain 
frescoes  in  the  Palazzo  Pubblico  in  Perugia  ;  but  of 
these  works  not  a  trace  remains,  and  there  is  no 
evidence  to  support  the  learned  author's  statement. 
Milanesi,  moreover,  further  records  the  fact  that  in 
1478  Perugino  worked  at  Cerqueto,  painting-  some 
frescoes  in  a  chapel  there,  and  only  one  solitary 
figure  of  'San  Sebastian'  bearing  that  date  now 
remains  out  of  the  entire  dpcoration. 

One  picture  only  remains  to  us  of  the  series 
executed  by  Perugino  in  Rome  for  Sixtus  IV.,  and 
it  represents  the '  Delivery  of  the  Keys  to  St.  Peter.' 
Three  other  frescoes  in  this  chapel  Perugino  did  un- 
doubtedly paint  for  Sixtus  IV.,  covering  the  eastern 
wall.  They  depicted  the  'Assumption,'  into  which 
he  introduced  the  kneeling  figure  of  the  Pope,  the 
'Nativity,'  and  the  'Finding  of  Moses,'  but  all  these 
works  were  swept  away  during  the  Pontificate  of 
Pope  Paul  III.  to  make  way  for  the  tremendous 
work  of  Michelangelo,  'The  Last  Judgment.'  The 
payment  for  the  frescoes  in  the  Sistine  Chapel 
was  not  authorized  till  August  8,  1489,  as  Mariotti 
records  that  at  that  time  Perugino  was  entitled  to 
draw  on  the  Apostolic  camera  at  Perugia  for  180 
ducats,  being  the  balance  of  money  due  for 
pictures  in  the  Apostolic  chapel.  On  March  5, 
1490,  Perugino  gave  a  receipt  in  Perugia  for  that 
money. 

There  are  three  pictures  which  seem  to  belong 
to  the  early  d^iys  of  Perugino — the  tondo  in  the 
Louvre,  the  somewhat  similar  work  at  Verona,  and 
the  '  Baptism '  at  Vienna.  Probably  the  frescoes  in 
the  Convent  of  the  Frati-Gesuati  beyond  the 
Pinti  Gale,  a  house  that  was  destroyed  in  the  siege 
of  Florence  in  1529,  were  early  works,  inasmuch 
as  the  panel  pictures  that  were  saved  from  the 
church,  and  which  now  rest  in  the  Accademia, 
were  painted  in  1492-93. 

But  one  picture  remains  of  the  work  done  for 
Cardinal  Giuliano  della  Rovere  at  Rome.  This  is 
the  wonderful  altar-piece,  dated  1491,  now  the 
property  of  Prince  Torlonia,  and  to  be  seen  in  the 
Villa  Albani.  In  1493  Perugino  was  balloted,  so 
Orsini  says,  into  the  municipal  council  at  his  native 
place,  Citti  della  Pieve,  for  May  and  June,  and  is 
said  to  have  served  his  time  there,  but  in  the  same 
year  he  was  painting  at  Florence,  and,  according 
to  Mariotti,  had  a  bottega  in  that  city  and  accepted 
many  commissions. 

s  2 


To  this  period  belong  two  notable  pictures, 
one  in  Florence  and  the  other  in  Vienna.  The 
face  of  the  Virgin  in  each  picture  is  identical, 
and  the  infant  Christ  in  each  is  painted  from  the 
same  model.  The  picture  in  the  Uffizi  (1493)  was 
painted  for  San  Domenico  in  Fiesole,  and  was  the 
second  altar-piece  Perugino  did  for  that  church, 
the  first,  painted  in  1488,  having  disappeared. 
Crowe  and  Cavalcaselle,  in  speaking  of  the 
beautiful  picture  at  Cremona  (dated),  refer  to  it  as 
executed  in  Florence  and  sent  to  Cremona,  but 
there  are  grave  reasons  against  accepting  this 
statement.  It  is  quite  clear  that  in  1494  Perugino 
was  in  Venice,  and  in  that  year  also  he  painted  the 
altar-piece  in  Cremona. 

In  1496  the  Duke  II  Moro  of  Milan  was  anxious 
to  obtain  the  services  of  another  painter  for  the 
rooms  at  the  Castello,  and  he  wrote  to  his  envoy  in 
Florence  for  information.  The  envoy  replied,  giving 
to  the  Duke  information  as  to  the  leading  char- 
acteristics of  each  of  the  greater  Florentine  artists. 
Of  Perugino  he  wrote  :  "  He  is  a  rare  and  singular 
artist,  most  excellent  in  wall  painting.  His  faces 
h.ave  an  air  of  the  most  angelic  sweetness."  The 
Duke  Lorenzo  at  once  decided  to  employ  Perugino, 
but  unable  to  secure  his  services  himself  at  that 
time,  recommended  him  to  the  monks  of  theC'ertosa 
at  Pavia,  and  commissioned  a  great  altar-piece  from 
him.  Accordingly,  in  October  1496,  we  hear  of 
Perugino  being  at  Pavia  working  at  the  altar-piece. 
In  the  following  year,  1497,  the  Duke  again  tried 
to  secure  the  services  of  Perugino  for  the  Castello, 
but  was  unsuccessful. 

The  two  years  1494  and  1495  saw  the  completion 
of  the  altar-piece  for  the  Magistrates'  Chapel  in 
Perugia — now  in  the  Vatican  Gallery  and  already 
mentioned — the  great  '  Entombment '  in  the  Pitti 
Palace,  the  'Ascension'  altar-piece  for  San  Pietro, 
Perugia,  the  portrait  of  Francesco  delle  Opere  in 
the  Uffizi,  and  the  commencement  of  the  greatest 
work  of  all,  which  was  finished  in  1496,  the 
'  Crucifixion '  at  Sta.  Maria  Maddalena  dei  Pazzi. 
In  the  early  spring  of  the  year  1496  Perugino  was 
in  Venice,  but  in  the  autumn  back  in  Florence  and 
in  Perugia. 

In  1497  he  was  in  Florence,  in  Perugia,  and  in 
Fano.  In  1498  he  was  in  Florence,  and  then  again 
at  Fano.  The  'St.  Bernard'  at  Munich  belongs 
to  this  period  of  Perugino's  life.  It  is,  of  course, 
impossible  to  fix  its  date  exactly,  but  one  may 
safely  put  it  from  1496  to  1500.  To  this  same 
period  may  be  attributed  the  'Virgin  in  Glory'  at 
Bologna,  the  '  Family  of  St.  Anne '  at  Marseilles, 
and  the  masterpiece  in  Florence,  the  'Crucifixion' 
of  Sta.  Maria  Maddalena  del  Pazzi. 

The  great  altar-piece  for  the  Certosa  at  Pavia 
was  completed  in  1499. 

In  1497,  as  just  stated,  Perugino  was  in  Fano, 
and  there  again  in  1498.  In  each  of  these  years 
he  was  probably  also  in  Perugia,  and  in  one 
of  them,  perhaps  1497,  he  was  at  Sinigaglia  and 
at  Cantiano,  two  small  places  close  to  Fano.  Of 
his  visits  to  Fano  we  have  two  results :  a 
'Madonna  and  Child  with  Saints,'  dated  1497,  and 
an  '  Annunciation,'  dated  1498  ;  while  at  Sinigaglia 
there  is  a  'Madonna  and  Child  with  Saints'  closely 
resembling  the  Fano  one,  and  at  Cantiano  a  'Holy 
Family'  of  similar  characteristics. 

In  the  intervals  which  enabled  the  artist  to 
revisit  Perugia  we  have  evidence  of  his  work 
in  a  'Madonna  and  Child,'  dated  1497,  now  in 
the   Gallery  of  Perugia,  and   in  another  picture 

259 


A   BIOGRAPHICAL  DICTIONARY  OF 


attributed  to  tlie  same  period  and  now  )ianging 
in  the  same  Gallery.  Even  these  visits  do  not 
complete  his  wanderings,  for  on  June  26,  1498,  he 
was  certainly  in  Florence.  On  J;in»ary  19,  1497,  he 
had  been  called  to  assist  Benozzo  Gozzoli,  Cosimo 
Rosselli,  and  Filippino  Lippi  to  value  the  frescoes 
of  Alesso  Bnldovinetti  in  the  church  of  Sta.  Triniti 
in  Florence,  and  in  June  1498  he  was  present  at 
a  meeting  called  to  discuss  the  repairs  of  the 
lantern  of  Sta.  Maria  del  Fiore.  At  about  this 
time  came  an  invitation  from  the  Priori  of  Perugia 
for  him  to  undertake  the  entire  decoration  of 
their  Cambio  or  Bourse,  and  early  in  1499 
he  left  Floience  and  commenced  in  Perugia  the 
most  important  work  of  his  life.  The  scenes  in 
the  decoration  of  what  is  still  called  in  Perugia 
the  'Noble  Cambio'  are  not  the  most  beautiful 
that  Pietro  painted,  nor  are  they  the  finest  of  his 
works  in  the  way  of  drawing,  composition,  or 
colourini,'.  They,  however,  form  part  of  a  complete 
scheme  of  decoration,  carried  out,  it  is  true,  under 
certain  definite  restrictions  laid  down  by  the  Priori, 
but,  subject  to  these  restrictions,  designed  through- 
out by  the  master,  and  mainly  executed  by  his  own 
hand. 

His  fellow-citizens  paid  him  the  compliment 
of  desiring  that  his  portrait  should  be  identified 
with  his  important  work,  and  it  appears  in  a 
conspicuous  place  in  the  room. 

0p|)0site  to  the  portrait  of  the  artist,  close  by 
the  fresco  of  '  Prophets  and  Sibyls,'  is  a  label  with 
the  words  "Anno  Salvt  M.D.,"  giving  the  definite 
information  in  what  year  the  work  was  completed. 

It  was  probably  at  this  period  of  Perugino's  life 
that  the  great  Kaphael  first  became  his  pupil. 
It  is  perfectly  certain  that  Raphael  was  a  pupil  to 
Penigino,  ai)d  it  is,  of  course,  possible — although 
hardly  conceivable — that  his  tuition  was  taking 
place  during  the  busy  wandering  years  preced- 
ing 1500.  For  the  Cambio  decoration  Perugino 
appears  to  have  received  350  large  gold  ducats, 
but  the  final  payment  of  the  money  was  not  made 
till  1507,  when  the  juror  of  the  Cambio,  Alberto 
de  Mansueti,  recorded  with  pride  the  fact  that  he 
had  finally  settled  the  Cambio  payments  and 
obtained  Perugino's  receipt  in  full,  dated  January 
15,  1507. 

The  date  1500  is  attached  to  the  great  Val- 
lombrosan  altar-piece,  and  it  must,  therefore,  have 
been  executed  immediately  after  the  completion  of 
the  Cambio.  This  picture,  now  in  the  Accademia, 
is  one  of  the  finest  that  Perugino  ever  produced. 
Still  greater  work,  however,  Perugino  executed  at 
Vallombrosa.  lie  painted  the  portraits  of  the  Abbot 
Baldassare,  and  of  Don  Biagio  Milanesi,  and 
triumphantly  proved  his  right  to  be  termed  a  great 
portrait  painter.  If  all  other  works  of  Perugino 
had  perished  and  we  possessed  these  two  heads 
alone,  the  genius  of  the  artist  would  be  revealed 
by  them  as  of  the  highest  order. 

Mariotti  records  that  in  1501  Perugino  was  one 
of  the  Priori  of  the  city,  and,  being  salaried  ofiicers, 
the  Priori  were  obliged,  according  to  Marchesi,  to 
reside  in  the  Palazzo  Communale,  and  give  daily 
attendance  for  magisterial  business.  This  involved 
a  good  deal  of  civic  duty,  and  doubtless  consumed 
a  great  deal  of  time,  and  probably  during  1501 
Perugino  did  little  painting.  However,  if  he  was 
at  the  moment  unable  to  paint,  he  was  prepared 
to  make  contracts  for  future  work,  and  Mariotti 
records  several  of  his  interesting  engagements. 
One  dated  September  10,  1502,  is  for  some  saints 

260 


and  angels  around  a  large  crucifix  carved  in  wood, 
belonging  to  the  convent  of  San  Francesco  al 
Monte,  and  for  a  'Coronation  of  the  Virgin'  to 
form  the  reverse  side  of  this  altar-piece.  For 
that  he  was  to  have  120  florins.  In  the  same 
year  he  agreed  to  supply  to  Baccio  d'Agnolo 
designs  for  the  intarsia  work  in  the  stalls  of  S. 
Agostino,  which  Baccio  was  to  make  in  one  year 
for  1120  florins,  and  for  the  due  performance  of  his 
task  Perugino  became  surety.  He  was  also  to 
paint  a  double  altar-piece  for  S.  Agostino,  and 
was  to  design  a  frame  for  it  which  Tomaso  was 
to  carry  out.  By  another  contract  he  agreed  to 
paint  a  'Sposalizio'  for  the  Duomo.  The  S. 
Agostino  altar-piece,  however,  was  not  finished 
for  nearly  twenty  years. 

In  1503  Perugino  left  Perugia,  go  Mariotti  records, 
completing  in  the  October  of  that  year  the  arms  of 
Julius  II.  on  the  gates  of  the  palace  and  on  the 
five  entrances  to  the  city.  He  settled  down  in 
Florence  in  the  Pinti  quarter,  and  early  in  the  year, 
on  January  25,  1504,  was  present  at  the  meeting 
called  to  choose  a  place  for  Michelangelo's 
gigantic  statue  of  '  David.' 

Within  a  few  days  after  these  occurrences 
Perugino  left  Florence  again,  and  went  to 
Perugia.  Here  a  letter  reached  him  from  the 
Priori  of  his  birthplace,  Cittk  della  Pieve,  begging 
him  to  come  and  paint  a  fresco  for  them. 
The  fresco  covers  a  wall  space  of  about  22  feet 
square.  It  is  dated  1504.  It  was  in  1505  that 
Isabella  d'Este  Gonzaga,  Duchess  of  Mantua, 
commissioned  a  picture  for  her  boudoir  in  the 
Ducal  Palace.  In  June  1505  Perugino  wrote  to 
the  Duchess  from  Florence,  having  come  there 
from  Panicale,  explaining  that  he  had  executed 
her  conunission  in  tempera,  as  he  had  deemed  that 
to  be  the  best  medium  in  which  to  depict  the 
scene.  He  received  eighty  ducats  for  the  picture, 
and  it  remained  in  the  palace  at  Mantua  La 
Gloriosa  until  the  time  of  the  plunder  in  1630, 
when  it  was  removed  to  the  castle  of  Richelieu, 
where  it  remained  down  to  the  time  of  the 
Revolution,  and  it  now  hangs  in  the  Louvre. 

An  important  'Descent  from  the  Cross'  had 
been  commissioned  by  one  Jacopo  Federighi,  a 
Knight  of  Malta,  for  the  brethren  of  SS.  Annunziata 
de  Servi,  and  the  instruction  given  to  Filippino 
Lippi.  In  1503  he  commenced  the  work,  but  in 
1505  he  died,  leaving  it  half  finished,  and  the 
monks  called  in  Perugino  to  complete  it,  giving 
him  also  a  commission  to  paint  an  '  Assumption  ' 
of  the  same  size  for  the  reverse  of  the  altar-piece. 
The  first  commission  he  executed  well,  the  second 
so  carelessly  that  Vasari  states  that  the  monks 
gave  the  place  of  honour  to  the  picture  begun 
by  Filippino  Lippi.  Of  this  picture,  now  in  the 
Accademia,  Lippi  did  the  upper  part,  Perugino 
the  lower,  and  it  is  right  to  add  that  he  so  well 
blended  his  work  with  the  work  of  Lippi  that  the 
picture  is  harmonious  and  delightful. 

An  interesting  commission  reached  him  in 
Perugia  in  1507.  The  executors  of  one  Giovanni 
Schiavone,  a  master  carpenter,  commissioned  an 
altar-piece  for  Sta.  Maria  Nuova  de  Servi,  and  this 
picture  now  hangs  in  the  National  Gallery.  The 
Schiavone  picture  completed,  Perugino  left  for 
Foligno,  where  a  'Baptism  of  Christ'  had  been 
commissioned  for  the  church  of  SS.  Annunziata. 

While  at  Foligno,  Perugino  received  orders  to 
come  to  Rome.  Pope  Julius  II.  desired  him  to 
decorate  some  ceilings  in  the  Vatican,  but  it  is  not 


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PAINTERS   AND   ENGRAVERS. 


very  clear  what  the  instructions  really  were.  One 
ceiling  we  know  he  decorated,  that  in  the  Camera 
deir  Incendio,  because  when  Raphael  completed 
the  decoration  of  the  series  of  rooms  he  spared  this 
ceiling  out  of  respect  to  his  old  master.  Crowe 
thinks  that  from  Rome  Perugino  went  to  Assisi, 
where,  at  the  church  of  Santa  Maria  degli  Angeli, 
on  the  rear  wall  of  the  portiiincula,  facing  east,  he 
painted  a  fine  '  Crucifixion.'  In  Siena  Perugino 
painted  a  '  Crucifixion '  for  the  Chigi  altar  in  San 
Agostino,  for  which  he  was  paid  200  ducats. 
Orsini,  at  this  stage,  says  that  Perugino  went  to 
Florence,  but  he  was  soon  back  in  Perugia  (1512), 
where  he  purchased  two  farms  and  a  house. 
Mariotti  records  the  transaction.  In  this  same  year 
we  find  the  wandering  artist  at  the  little  hill  town 
of  Bettona,  so  difficult  of  access,  and  situate  near  to 
Assisi,  and  the  pictures  which  remain  in  proof  of 
his  visit  are  extraordinary  and  remarkable  ones. 
Still  journeying  around  Perugia,  we  find  the  artist 
visiting  in  1512  and  in  1513  his  native  town  of  Citti 
della  Pieve.  There  are  two  pictures  at  Citta  dated 
1513,  another  done  in  1514,  and  a  fourth  in  1517, 
and  a  fifth  without  date. 

One  work  only  remains  that  can  be  definitely 
attributed  to  the  next  year,  1518,  a  picture  painted 
in  Perugia  for  the  great  church  of  San  Francesco  al 
Prato.  ItrepresentsSt.  Sebastian  bound  to  a  column 
and  attacked  by  archers,  and  is  signed  and  dated. 
During  the  next  two  years  it  may  well  be  imagined 
that  Perugino  was  hard  at  work  at  the  great  altiir- 
piece  for  S.  Agostino,  which  had  been  ordered 
before  1512.  In  1521  Perugino  added  the  six 
figures  of  St.  Scholastica,  St.  Jerome,  St.  John,  St. 
Gregory,  St.Boniface,  and  St.  Martha,  in  the  church 
of  San  Severo,  below  the  fresco  painted  by  Raphael 
in  1505  ;  they  are  dignified  and  impressive.  In  1522 
back  he  came  to  Perugia,  painted  the 'Transfigura- 
tion '  for  Sta.  Maria  Nuova,  and  its  three  predella 
panels  now  in  the  Perugia  Gallery,  and  the  frescoes 
in  the  Nunnery  of  Sant'  Agnese.  Three  more 
frescoes  only  remain  for  mention.  A  harsh  and 
hurried  one  in  the  Cathedral  of  Perugia,  in  which 
the  Magdalen's  face  is  the  redeeming  feature,  a 
faded  but  lovely  'Nativity'  in  the  Alfani  Rooms 
(Room  13)  in  the  Perugia  Gallery,  which  is  full  of 
exquisite  feeling  and  tender,  reverent  grace,  and 
finally,  the  last  and  unfinished  work  which  now 
hangs  in  the  National  Gallery.  This  is  a  huge 
fresco  transferred  to  canvas,  and  measures  19  ft. 
6  in.  long.  It  was  executed  at  Fontignano  in  1523, 
and  is  said  to  have  been  the  last  work  of  the  artist. 

Mariotti  tells  us  that  Perugino  died  at  the 
Ospedale  of  Fontignano,  and  Orsini  suggests  that 
it  was  of  plague.  There  were  various  traditions 
as  to  his  burial.  Early  in  1524,  his  sons,  desirous 
of  affordint;  him  an  honourable  burial,  according 
to  the  rites  of  Holy  Church,  tried  to  make 
arrangement  for  the  removal  of  the  body.  On 
December  30,  1524,  they  entered  into  a  contract 
with  the  monks  of  San  Agostino,  who  were  still 
in  their  father's  debt  50  scudi,  that  they  should 
remove  his  body  from  Fontignano  and  bury  him 
in  their  church,  and  the  sons  agreed  to  pay  for  the 
Mass.  Mariotti  says  that  there  was  in  his  time  no 
proof  that  that  ever  was  done,  but  the  very  fact  of 
the  contract  proves  that  nothing  could  be  said  to 
the  discredit  of  Perugino's  life  or  character,  and 
refutes  idle  rumour  as  to  his  atheism. 
Altenberg.        Lindenau  \  g^^  jj^,^^ 


Collection,  j  ' 


St.  Anthony  of  Padua, 


Assisi.        Church  of  St. 'i  A  fragment  of  a  'Crucifixion* 
3tart/oftht^     resembling    No.    57    in    the 
Angels.)      Accademia. 
Bettona.    Picture  Gall.     A  votive  portrait. 

„  ,,  Mailouna    between    S.    Manno 

and  St.  Jerome,  with  male  and 

female    patrons     under    her 

cloak,  and  with  Angels  above. 

Bologna.        Pinacoteca.     The  Assumption. 

„  Church  of^ 

S.    Martina  VThe  Virgin  in  Glory. 
Mai^giore.J 
Bordeaux.  Picture  \  Virgin    and    Child    enthroned 

Gallery.  J  with  St.  Jerome  and  four 
Angels,  from  S.  Agostino, 
Perugia. 

Borgo  San       Cathedral.  \  The  Ascension  of  Christ. 
Sepulcro.  ) 

Brussels.  Royl  Picture ^^^^^^^^^  Christ,  and  St.  John. 

Caen.       Museum,^  H.M  |  gj  j^^„^^_ 

Cantiano.         Church  of^ 

Sta.  Maria  VThe  Holy  Family. 
della  Colleyiata.) 
Cerqueto.  Figure  of  St.  Sebastian. 

Chesterfield.     S'ni^^^J  |  The  Three  Maries. 

Citti  della  Pieve.   iSanta  \  Fresco.  Tiie  picture  is  inscribed : 
Maria  de  Bianca.  j      a.d.  mdiiij. 
„         Ch.  of  St.  Peter.     St.  Anthony. 
„  Cathedral.^ 

{Behind  the  >Virgin  in  Glory. 
hiyh  altar.)  J 

^^'"'n  tj^'j  I  B'^Ptisni  of  Christ  ^J  St-  John. 

„  (Right  of  hiyh  1  Virgin    and   Child  seated    on 

altar.)}      a    throne,    with     St.     John 

Baptist,  St.  John  Divine,  St. 

Domenic,  and  St.  Francis. 

„  Sta.  Maria  \  A    fragment     of    a    '  Descent 

de  Servi.  j      from  the  Cross.' 

Corciano.  The  Assumption  of  the  Virgin. 

Cremona.  Church  of)  The  Virgin  with  St.  James  and 

iS.  Agostino.  j      St.  Augustine. 

Dresden.   Royal  Picture  \o^  n  -     • 

Gallery.  )       '  "    " 

Fano.         Churchof  Sta.  I  rm.     a  •  a- 

,r  .-t  >  The  Annunciation. 

Maria  Nuova.  J 

The  Virgin  and  Child. 
Mary  Magd;ilen. 
Portrait  of    a  Woman,   some- 
times   called     'The    Nun.' 
(Panel.) 
The  Entombment. 
The  Adoration  of  the  Infant 

Christ. 
Portrait,  believed  to  represent 

Frimcesco  delle  Opere. 
Madonna  and  Child  with  two 

Saints. 
Portrait  of  Don  Biagio  Mihinesi, 
General  of  the  Vallombrosan 
Order.     1499-1500. 
„  Portrait   of     Don     Baldaasare, 

Monk  of  Vallombrosa.  1499- 
1500. 
,,  Christ  on  the  Mount  of  Olives. 

„  The  Assumption. 

„  The  Crucifixion. 

,,  The  Entombment. 

„  The  Descent  from  the  Cross. 

Chapter- House  \ 

of  Santa  Maria  \  rj.,      «       .«    ■ 
krfda/«adet    The  Crucifixion. 

Pa:zi.  j 
Church  of  SS.  \  Virgin    and    Child    enthroned 
Annunziata. }      between    St.    John    Baptist 
and  St.  Francis. 
,,  Assumption  of  the  Virgin. 

zS^^l  The  Crucifixion. 
(  H  est  window.)  ) 

261 


Florence.    Pitti  Palace. 


Uffizi  Palace. 


Academy. 


A   BIOGRAPHICAL  DICTIONARY  OF 


Foligno.      Ckur^c^of^La  |  ^,^  ^aptisn.  of  Christ. 

Frankfort.  StaedelGall.     Virgin    and    Child     with    St. 

John. 

Grenoble.  Museum.    SS.   Sebastian    and   ApoUonia, 

from    the    great     alt.'tr-piece 

painted    for  S.  Agostino,   at 

Perugia. 

Loudon.   National  Gall.    Virgin  and  Cliild  and  St.  John. 

„  „  The  Virgin  adoring  the  Divine 

Child. 
„  „  The  Virgin  and  Child  and  two 

Saints. 
„  „  The  Baptism  of  Our  Lord. 

„  „  The   Adoration   of    the   Shep- 

herds. 
Head  of  a  Saint. 
The  Ascen.sion. 

SS.    Herculaiius    and    James. 
Probably  from    S.   Agostino, 
Perugia. 
Madonna  and  Child  with  two 

Saints. 
The   Family  of    St.   Anne,   or 
the  Infant  Saviour  with  His 
five  Cousins. 

"  MvTeum.  ]  Madoii''  and  Child. 
Montefalco.CTiMrcA  of  St.  l 

Francis.(New  >The  Nativity, 
Finacoteca.)} 

^^'^cfthek' }  ^'^•°°  °^  ^*-  Bernard. 

„  The  Virgin  adoring  the  Child. 

„  Madonna  and  Child. 

„  The  Baptism  of  Christ. 

The  Resurrection. 

Isaiah  and  Jeremiah. 

Adoration  of  Christ. 

Madonna  and  Child. 

The  Assumption. 


„        Zord  Battersea. 
Lyons.  Picture  Gallery. 


Maeerata. 

Marseilles.  Picture  Gall. 


Milan. 


Munich. 


Nantes.      Picture  Gall. 


Naples. 


1  and  Child. 


Nat.  Museum. 

Dnoitio. 

Fanicale,  Church 

Lago  of  St.  V  Martyrdom  of  St.  Sebastian 

Trasimeno.  Sehastian.) 

"     ^'"'"'"^f.'^-lvh-gin 
Augustine,  j         ° 

Paris.  Louvre.     Virgin  and  Child. 

„  „  The  Holy  Family. 

„  „  St.  Paul. 

„  „  St.  Sebastian. 

„  ,,  A  Combat  between  Love  and 

Chastity. 
„  _  ,,  Apollo  and  Marsyas. 

Pavia.  C'ertosa.    A  picture   of   six    divisions  of 

which  the  central  one  in  the 

upper  tier  is  alone  by  Peru- 

giuo. 


Perugia. 


262 


^rl7nucci  ]  ^^  Coronation  of  the  Virgin. 
„  St.     Jerome     and     St.     Mary 

Magdalen. 
„  St.     Sebastian      bound    to    a 

Column  and  shot  at  by  two 
Archers ;       above    are     two 
Angels. 
„  Pieta. 

„  The  Baptism  of  Christ. 

,,  The  Eternal  Father  seated  and 

slu-rounded  by  Cherubs. 
-,  The    Preaching    of    St.    John 

Baptist. 
„  The     Marriage     of     Cana    in 

Galilee. 
yf  The  Adoration  of  the  Magi. 

y,  The  Offering  of  Christ  in  the 

Temple. 
„  The  Prophet  David. 

„  The  Prophet  Daniel. 

The  Birth  of  Christ. 
San  Lorenzo. 
St.  Louis  the  Bishop. 
San  Costanzo. 
A  Martyr. 
St.  Jerome. 


Perugia.  Pinacoteca-)^     ^^ 

Vanmicci. )  -^ 

,,  „  San  Nicola  da  Tolentino. 

,,  ,,  St.  Monica. 

,,  ,,  Madonna  with  the  DiWne  Child 

and  Saints. 

„  „  The  Archangel  Gabriel. 

„  „  A  Crucifixion. 

„  „  St.  James. 

„  „  St.  Jerome. 

„  „  The  Transfiguration, 

„  ,,  The  Virgin  and  Child. 

„  „  The  Virgin  of  Consolation. 

„  „  The  Virgin  and  Child. 

„  „  St.  John  Baptist  and  four  other 

Saints. 

„  „  St.  John  the  Divine. 

„  „  St.  Luke  the  Evangelist. 

„  „  The  Birth  of  Christ. 

„  Duomo.     Virgin  and  Child  and  Sainta. 

„  CAwrcA  0/ )  Raphael's  first   fresco  of  'Our 

S.Severo.f  Lord  and  many  Saints,'  to 
which  Perugino  made  addi- 
tions in  1521. 


Church  of)   ^^^^ 

'S.  Pxetro.  J 


Rome. 


Nunnery  of )  The  Eternal  Father  with  SS. 
Sani'  Agnese.  j      Sebastian  and  Rocu. 

„  Crucifixion,  with    two   Angels, 

the    Virgin,    and    St.    John 
Baptist. 

^  The  Virgin,  with  two  Angels, 

St.  Anthony  the  Abbot,  St. 
Anthony  of  Padua,  St, 
Elizabeth  of  Portugal,  St. 
Elizabeth  of  Hungary. 
Collegio  del  \  {Entirely  decorated  iji  fi'esco.) 
Cambio.  y  First  and  third  pictures. 
Twelve  standing  figures  in 
groups  of  three,  each  group 
consisting  of  a  Greek  betwt'tn 
two  Romans.  1.  Fabius 
Maximus,  Socrates,  Numa 
Pompilius.  2.  Furius  Ca- 
millas, Pittacus,  Trajan.  3. 
Lucius  Siciuius,  Leonidas, 
Horatius  Codes.  4.  Scipio, 
Pericles,  Ciucinnatus.  Be- 
tween these  two  great  groups 
on  a  pilaster  is  the  portrait 
of  Perugino  with  this  inscrip- 
tion :  PETBVS  PERVSINVB 
EGREGIVS   PICTOR. 

On  the  end  wall  are  representa^ 
tionsof  The  Transfiguration' 
and  'Nativity.' 

On  the  riglit  wall  is  a  'Group 
of  Prophets  and  Sibyls,' 
Isaiah,  Moses,  Daniel,  David, 
and  Jeremiah,  and  opposite 
to  them  the  Persian. Cumcean, 
Libyan,  Tyburtine,  and 
Delphic  sibyls.  Above  them, 
in  the  clouiis,  surrounded  by 
Cherubs  and  adoring  Angt-ls, 
is  a  representation  of  '  The 
Eternal  Father.' 

Near  the  door  is  a  fine  standing 
figure  of  'Cato,'and  in  the 
ceiling  are  medallions  of  the 
deities  representing  tlie  seven 
planets  set  amidst  a  profusion 
of  diversified  arabesques. 

'^"f^ri^t^.'^:'')  1  St-  Peter  receiving  the  Keys.  _ 
{Stanza  DelV  \  The  ceiling  painted  by  Perugia 
Incendio.)  j  was  spared  by  Raphael  in 
1508  when  Pope  Julius  XL 
ordered  the  destruction  of  all 
existing  work  in  order  that 
Raphael  might  entirely  com- 
plete the  decoration.  The 
ceiling  is  in  four  circular 
compartments. 


A  BIOGRAPHICAL  DICTIONARY  OP 


700  drawings,  the  large  majority  being  again  of 
Welsh  scenery.  His  style  was  powerful  and 
expressive  ;  he  eschewed  the  use  of  body  colour, 
and  worked  in  broad  masses  without  stippling, 
somewhat  in  the  manner  of  Girtin.  Working  in 
the  middle  period  of  the  water-colour  school, 
before  the  full  development  of  the  art,  he  yet 
remains  one  of  its  most  prominent  exponents.  He 
also  taught  drawing,  and  numbered  among  his 
pupils,  Turner  of  Oxford,  David  Cox,  Linnell,  and 
Mulready,  while  many  other  famous  artists  owed 
much  to  his  advice  and  encouragement.  In  the 
course  of  his  lessons  he  made  many  quaint  and 
incisive  comments.  "Nature,"  he  would  say, 
"wants  cooking";  or,  "Did  you  ever  notice  a 
barber  sharpen  a  razor?  That's  what  it  wants, 
the  decision  and  the  wliacks."  For  the  use  of  his 
students  he  published  in  parts,  from  1816  to  1821, 
'  A  Treatise  on  the  Principles  of  Landscape  Draw- 
ing'; in  1818,  'Precepts  of  Landt^cape  Drawing'  ; 
and  in  1821,  'A  Practical  Treatise  in  the  Art  of 
Drawing  in  Perspective.'  He  was  fond  of  casting 
nativities,  and  was  a  keen  student  of  astrology,  as 
is  shown  by  his  'Treatise  on  Zodiacal  Physiog- 
nomy,' published  in  1828.  With  William  Blake 
he  formed  a  close  friendship,  and  was  strangely 
fascinated  by  his  mystical  ideas.  It  was  in  liis 
company  and  under  his  encouragement  that  Blake 
drew  the  series  of  '  Visionary  Heads.'  Though 
Varley  worked  assiduously  and  had  a  good  teach- 
ing connection,  he  failed  to  secure  a  competence, 
and  his  later  years  were  disturbed  by  pecuniary 
difficulties.  He  ended  life  as  he  began,  with 
tattered  clothes  and  shoes  tied  with  string,  and 
died  on  November  17,  1842.  About  lifty  of  his 
water-colour  drawings  belong  to  the  Victoria  and 
Albert  Museum,  among  them  beini;;  his  'Pass  of 
Llamberis'  (1803),  '  Beddgelert  Bridge'  (1805), 
'Holy  Island  nnd  Lindisfarne'  (1811),  '  Frognal, 
Hainpstead'  (182G),  '  River  Scene'  (1840),  '  Bolton 
Abbey'  (1842),  'High  Street,  Conway,'  and  an 
illustration  to  the  'Bride  of  Abydos.'  M.  H. 

VAKLEY,  William  Fleetwood,  water-colour 
painter,  was  bom  in  1777?  He  was  the  younger 
brother  of  John  Varley,  under  whom  he  made  his 
first  studies  in  art.  He  exhibited  at  the  Royal 
Academy  at  intervals  from  1804  to  1817.  He 
practised  as  a  teacher  of  drawing  in  Cornwall,  at 
Batli,  and  at  Oxford,  in  which  city  he  was  nearly 
burnt  to  death  through  a  foolish  frolic  of  some  of 
his  pupils.  He  never  recovered  the  shock,  and, 
falling  into  ill-health,  gave  up  work  and  became 
dependent  on  a  son-in-law.  He  died  at  Ramsgate, 
February  2,  1858.     Works: 

A  Welsh  Mountain  scene.    {South  Kensington  Jfuseum,) 

S.  Mii^hael's  Mount,  Cornwall.     {Do.) 
{.Atid  three  others.) 

VAROTARI,  Alessandro,  called  II  Padovanino, 
the  son  of  Dario  Varotari,  was  born  at  Padua  in 
1590.  Ridolfi,  who  wrote  when  this  artist  was 
still  living,  after  alluding  to  his  sister  Chiara,  tells 
us  th:it  Alessandro,  while  still  a  young  man,  found 
his  way  to  Venice  in  the  year  1614,  and  gave  proof 
there  of  his  talent  by  his  paintings,  especially  those 
in  S.  Giustina — displaying  the  life  of  that  Saint  and 
of  S.  Miigno — and  in  S.  Maria  Maggiore,  by  a  great 
historical  painting  of  the  victory  obtained  by  the 
Camothesi,  through  the  miraculous  help  of  the 
Virgin,  over  the  Normans.  At  Venice  he  obtained 
the  nickname  of  II  Padovanino,  and,  having 
already  studied  Titian  at  Padua,  he  had  every 
facility  at  Venice  to  base  his  art  upon  that  Master, 

266 


though  there  seems  to  me  little  doubt  that  the 
creations  at  Venice  of  his  father  Dario's  teacher, 
Paolo  CaliarijCame  to  influence  him.  The  memories 
of  the  best  Venetian  art  were  thus  a  tradition 
within  the  Varotari  family  ;  and,  if  we  compare 
Alessandro's  work  with  that  of  many  of  his  con- 
temporaries, we  see  at  once  what  a  saving  influence 
this  must  have  beeu.  His  colouring  is  rich  and 
full  of  Venetian  splendour ;  there  is  a  quality  of 
opulence  within  his  brush  work,  and  his  flesh  tints 
seem  to  recall  something  of  that  lost  golden  colour- 
ing of  Titian.  Greater,  perhaps,  as  a  colourist  than 
as  a  draughtsman,  in  this  too  he  only  followed 
Venetian  tradition  ;  and  his  female  figures  are  often 
of  a  singular  and  individual  beauty.  The'Vaniti' 
and  'Eurydice,'  the  stately  full-formed  women  of 
the  'Marria'j;e  of  Cana,'  the  '  Minerva'  of  the  Villa 
Borghese  (with  the  marvel  of  her  golden  flesh 
colouring),  and  the  Venus  beside  Love  within  the 
Louvre,  may  serve  as  instances  among  these,  which 
are  not  unworthy  to  stand  beside  the  women  of 
Titian  and  Veronese,  or  those  lovely  female  saints 
whom  Sebastiano  painted,  in  the  ripest  moment  of 
Venetian  art,  within  S.  Giovanni  Chrisostomo. 
The  Venice  Academy  is  rich  in  Alessandro's  works 
— the  '  Vanita,' '  Herodias,'  'Darius'  Wife,"  Orpheus 
and  Eurydice'  and  'Rape  of  Proserpiiie'  being 
good  examples,  while  the  '  Saint  in  Deacon's 
Orders '  is  a  fine  religious  painting,  and  the 
'  Marriage  of  Cana '  a  vast  decorative  creation. 
Typical  of  his  lovely  blonde  women  is  the  '  Venus ' 
of  the  Louvre  ;  and  a  fine  copy  of  Giorgione's 
'  Venus  '  in  the  Cambridge  Fitzwiiliam  Museum  is 
attributed  to  his  hand.  Tiie  National  Gallery  has 
two  of  his  paintings,  and  in  the  Museo  Civico  of 
Verona  there  are  two  more — 'A  Man  and  Woman 
playing  Chess'  and  a  'Bacchanalian  Scene'  of 
Msenads  and  children,  a  fine  canvas  which,  in 
spite  of  the  cleaning  it  badly  requires,  shows 
something  of  his  superb  handling  of  flesh  paint- 
ing, as  well  as  his  uniformly  hne  treatment  of 
landscape.  Alessandro  Varotiiri's  life  was  spent 
mostly  at  Venice  and  his  birthplace,  Padua.  He 
died  at  Venice  in  1C50.  Among  the  best  of  his 
works  are  the  following  : 

Bergamo.       S.  Andrea.     Ceiling. 

Dresden.  Gulla'y.     Judith  with  the  Head  of  Holo- 

femes. 
Lucretia. 
Diana  and  Calisto. 
Cornelia  and  her  Children. 
Boy  and  Bird  (?  after  Titian). 
Venus  and  Cupid. 
The  Toilet  of  Minerva. 
Miracle  of  S.  Liberate. 
Madonna. 
Astrology. 
Altar-piece. 
„  Academy.     Marriage  of  Cana. 

„  ,,  Vanita. 

„  ,,  Herodias. 

„  „  Orpheus  and  Eurydice. 

„  „  Kape  of  Proserpine. 

„  „  Darius'  Wife. 

„  „  Miracle  of  a  Deacon. 

„  „  A  Jewish  Mother  and  her  Child. 

„  „  The  Virgin  in  Gloi  y. 

Verona.    Museo  Civico.     Man  and  Woman  playing  Chess. 

„  „  Triumph  of  Bacchus. 

Vienna.  Gallery.     Holy  Family, 

„  „  The  Woman  taken  in  Adultery. 

„  „  Judith.  S.  B. 

VAROTARI,  Chiaba,  daughter  of  Dario  Varotari, 
from  whom  she  had  her  first  instruction  in  art. 
She   practised   painting   in    Padua   and    Verona. 


Florence. 

Uffizi. 

Hanover. 

Museum. 

Loudon. 

Na 

.  Gallery. 

Paris. 

Louvre. 

Rome.    I 

'ilia  Borqhese. 

Venice. 

Carmine. 

„       S. 

M. 

di  Salute. 

„   Sl.Mark 

's  Library. 

iS.  Toma. 

PAINTERS  AND  ENGRAVERS. 


September  7th,  1800.  Charles  and  Joseph  Varin 
claimed  descent  from  Jean  Varin,  the  medalhst. 

I^RIN,  Joseph,  the  younger,  draughtsman, 
engraver,  and  lithographer,  born  at  ChSlons-sur- 
Marne  in  1796,  was  the  son  and  pupil  of  Charles 
Nicolas  Varin.  In  his  youth  he  served  in  the  army, 
and  was  wounded  at  Waterloo.  After  the  peace 
he  was  employed  as  superintendent  of  works  at 
the  Cha,teau  de  Neuilly.  He  was  afterwards  for  a 
time  professor  at  the  Art  School  of  liis  native  town, 
but  in  1820  came  to  Paris  to  study  lithography 
under  Chasteau.  Finally  settling  at  Chalons,  he 
died  there  June  6fb,  184.S.  He  engraved  and  litho- 
graphed a  few  plates  after  Raphael  and  Girodet, 
and  two  plates  from  his  own  design  are  mentioned, 
one,  an  engraved  portrait  of  the  little  King  of 
Rome,  the  other  an  allegorical  lithograph  called 
'La  Patrie  des  Souvenirs,'  proofs  of  which  were 
sold  for  the  benefit  of  the  Poles. 

VARIN,  Pierre  Adolphe,  French  engraver, 
born  at  Cliaions-siir-Marne,  May  24th,  1821;  be- 
came a  pupil  of  Kouargue  and  of  Monvoisin  ;  one 
of  the  most  industrious  and  conscientious  of 
modern  French  etchers  and  engravers.  We  may 
mention  as  examples  of  his  art  the  illustrations  to 
works  by  Didron  and  Viollet-le-Duc,  and  his  re- 
production, au  burin,  of  Leopold  Roberts'  '  Mois- 
sonneurs.'  He  also  published  works  which  dealt 
with  the  technique  of  engraving.  He  obtained  a 
third-class  medal  in  1861.  He  died  at  Chateau 
Thierry  in  October  1897. 

VARIN,  Pierre  AMADfeE,  engraver  and  painter, 
the  son  of  Joseph  Varin  the  younger,  was  born  at 
Glialons-stir-Mame  in  1818.  He  was  a  pupil  of 
Monvoisin,  and  worked  in  conjunction  with  his  two 
brothers,  Pierre  Adlophe  and  Eoqene  Napoleon, 
well-known  engravers  still  practising  in  Paris. 
Many  of  his  works  were  exhibited  at  the  Salon 
between  1843  and  1882.  He  died  at  Crouttes 
(Aisne)  in  October  1883. 

VARIN,  QuENTiN,  a  French  painter  of  the  early 
17th  century,  born  at  Beauvais,  is  now  remembered 
chiefly  as  the  first  mastei  of  Nicholas  Poussin.  He 
studied  at  Beauvais  and  Amiens,  and  afterwards 
practised  in  Paris.  He  was  presented  to  Marie  de' 
Medicis,  and  commissioned  to  carry  out  decorations 
in  the  Luxembourg.  Terror  of  the  dingers  of  a 
court  led  him,  however,  to  abandon  the  commis- 
sion, and  to  go  into  hiding,  with  the  result  that 
Rubens  was  employed  in  his  place.  In  the  church 
at  Les  Andelys  there  are  an  '  Assumption '  and  a 
'S.  Vincent'  by  him;  in  S.  Germain  des  Pr6s, 
Paris,  a  '  Presentation  in  the  Temple.' 

VARLEY,  Cornelius,  water-colour  painter  and 
younger  brother  of  John  Varley,  was  born  at 
Hackney,  November  21,  1781.  He  was  only  ten 
years  old  on  the  death  of  his  father,  and  was 
adopted  by  his  uncle,  Samuel  Varley,  a  manu- 
facturer of  scientific  instruments  and  apparatus. 
In  his  new  home  the  boy  ac(iuired  some  know- 
ledge of  optics  and  chemistry,  and  seemed  to 
show  an  inclination  for  mechanics,  but  about  1800 
he  left  his  uncle  in  consequence  of  some  family 
disagreement,  went  to  live  with  his  brother  John, 
and  applied  himself  to  the  study  of  art.  The 
two  brothers  were  among  the  little  band  of  dis- 
tinguished painters  who  in  their  early  days  met  at 
Dr.  Monro's  bouse  in  Adelphi  Terrace.  In  1801 
they  sketched  together  in  Norfolk,  and  in  1802  in 
North  Wales.  Cornelius  Varley  first  exhibited  at 
the  Royal  Academy  in  1803  and  1804,  and  later 
from  1819  till  1850  was  an  occasional  contributor ; 


he  also  sent  works  from  1826  to  1844  to  Suffolk 
Street.  He  was  a  foundation  member  and  a 
zealous  supporter  of  the  Water-Colour  Society  till 
his  resignation  in  1820,  exhibiting  in  all  fifty-nine 
works.  His  pictures  were  chiefly  classical  land- 
scapes, with  architecture  and  groups  of  figures. 
He  was  a  member  of  the  Sketching  Club,  and,  like 
his  brother,  had  a  good  practice  in  London  as  a 
teacher  of  drawing.  He  never  lost  his  early 
interests  in  scientific  pursuits,  and  in  1814  became 
an  active  and  useful  member  of  the  Society  of  Arts. 
In  1811  he  invented  and  patented  a  "graphic 
telescope,"  for  which  he  received,  forty  years 
later,  a  gold  medal  at  the  Great  Exhibition  of 
1851.  He  also  made  considerable  improvements 
in  optical  instruments,  receiving  from  the  Society 
of  Arts  a  gold  medal  for  his  construction  of  a 
microscope,  and  two  silver  medals  for  machinery 
for  grinding  and  polishing  specula.  He  was  an 
etcher  as  well  as  a  painter,  and  was  also  one  of  the 
first  to  experiment  with  the  then  newly-discovered 
art  of  lithography.  His  'Etchings  of  Shippings,' 
issued  from  1809  to  1811,  contains  three  litho- 
graphs. He  died  at  Highbury,  October  2,  1873. 
His  remaining  works  were  sold  at  Christie's  on 
July  15,  1875.  Among  his  best  works  we  may 
name  : 

A  Mountain  Pastoral.     1809. 

The  Sleeping  Shepherd.     1810. 

Evening.     1811. 

Palajmon  and  Lavinia.     1811. 

View  of  Ardfort,  Ireland.     1815. 

After    Sunset,   North   Wales.      1803.      {Victoria    and 

Albert  Museum.) 
Coast  Scene,  Merionethshire.     (.Do.) 
Ruins  of  Troy.     1819. 
The  Vale  of  Tempe.     1820.  M.  H. 

VARLEY,  John,  landscape  painter  in  water- 
colour,  was  horn  at  Hackney  on  August  17,  1778. 
Owing  to  his  father's  objection  to  what  he  called 
the  bad  trade  of  lunning,  John  Varley  was  appren- 
ticed at  the  age  of  thirteen  to  a  silversmith.  On 
his  father's  death  shortly  afterwards  he  was  placed 
with  a  law  stationer,  and  was  given  every  en- 
couragement by  his  mother  to  study  art.  For  a 
time  he  obtained  employment  with  a  portrait 
painter  in  Holborn,  and  studied  under  Charles 
Joseph  Barrow  at  an  evening  school.  J.  Preston 
Neale,  a  fellow-artist  and  a  friend  at  this  period, 
writes:  "Poor  Varley  began  the  world  with 
tattered  clothes  and  shoes  tied  with  string.  Yet 
nothing  could  damp  the  ardour  of  this  determined 
great  man.  He  was  ever  with  his  pencil,  either 
drawing  from  nature,  or  cojiying  the  works  of 
distinguished  masters."  With  his  teacher,  Barrow, 
he  visited  Peterborough  on  a  sketching  expedition, 
and  one  result  was  '  A  View  of  Peterborough 
Cathedral,'  which  formed  his  first  exhibit  at  the 
Royal  Academy  in  1798.  His  practice  as  a  land- 
scape painter  now  advanced  considerably,  and  in 
1798  and  1799  he  travelled  in  North  Wales  with 
G.  Arnald,  finding  fresh  subjects.  With  Girtin 
and  Turner  he  was  one  of  the  group  of  painters 
who  met  at  the  bouse  of  Dr.  Monro,  where  the 
foundations  of  the  true  English  water-colour 
school  were  laid.  From  1799  to  1804  he  exhibited 
yearly  at  Somerset  House,  mainly  views  of  Wales. 
Along  with  his  brother  Cornelius  he  was  one  of 
the  original  members  of  the  old  Water-Colonr 
Society.  He  was  a  most  prolific  worker,  and 
from  1805  tOl  his  death  exhibited  under  the 
society's   auspices   a   grand   total   of    more   than 

2C5 


A  BIOGRAPHICAL  DICTIONARY  OF 


gained  a  medal  of  the  third  class  in  1846,  and 
where  he  died  in  the  same  year. 

VARDy,  John,  well  known  as  an  architect,  was 
also  an  engraver,  and  has  left  a  spirited  print 
representing  the  hall  at  Hampton  Court.  He  died 
in  1765. 

VAREGE, ,  was  a  close  imitator,  if  not  a 

scholar,  of  Cornelis  Poelenburg.  He  flourished 
about  the  middle  of  the  17th  century.  He  painted 
small  landscapes  with  figures,  generally  on  copper. 
He  is  not  noticed  by  the  Dutch  or  Flemish  writers, 
and,  from  his  name,  it  may  be  conjectured  that  he 
was  of  French  origin. 

VARELLA,  Francisco,  a  Spanish  painter,  was 
bom  probably  at  Seville,  about  tlie  end  of  the  16th 
century.  He  was  a  scholar  of  Pablo  de  las  Roelas, 
and  painted  history  with  some  success.  He  was 
employed  in  1618  by  the  Carthusians  of  Santa 
Maria  de  las  Cuevas  to  make  copies  of  certain 
pictures  painted  by  Gaudin  for  the  liramle  Char- 
treuse, Grenoble.  Bermudez  notices  a  '  Last 
Supper,'  in  the  church  of  San  Bernardo,  signed 
■with  his  name,  and  dated  1622,  as  one  of  his  best 
works.  Others  are  his  pictures  of  the  '  Martyrdom 
of  S.  Vincent,'  in  the  church  dedicated  to  that 
saint;  and  an  altar-piece  representing  St.  Michael, 
in  the  convent  of  La  Merced.  There  are  also  several 
of  his  pictures  in  the  private  collections  at  Seville, 
where  he  died  in  1666. 

VARENNE, DE,  a  French  painter  of  the  18th 

century,  details  as  to  whose  life  are  unknown. 
He  exhibited  at  the  Salon  in  1796-1798.  The 
Angers  Museum  possesses  a  portrait  by  him. 

VARENNE,  Charles  Santoire  de,  painter,  was 
bom  in  Paris  in  1763,  and  was  a  pupil  of  Joseph 
Vernet.  He  settled  in  Poland,  where  he  held  the 
post  of  Professor  at  the  Academy  of  "Warsaw. 
He  exhibited  occasionally  at  the  Salon  in  the  early 
part  of  the  19th  century.  He  died  in  Russia  in 
1834.  His  daughter  DorothSe,  born  in  Paris 
about  1804,  painted  flowers  and  miniatures,  and 
was  a  pupil  of  Redouts. 

VARGAS,  Andres  de,  was  born  at  Cuenca  in 
1613,  and  went  while  young  to  Madrid,  where  he 
studied  under  Francisco  Cainilo.  Camilo  obtained 
him  commissions  from  churches  and  private  persons. 
In  the  latter  part  of  his  life  he  practised  at  Cuenca, 
and  died  there  in  1674. 

VARGAS,  Luis  de,  one  of  the  most  eminent 
Spanish  painters  of  the  16th  century,  was  born  at 
Seville  in  1502.  Having  acquired  the  elements  of 
art  in  his  native  city  he  went  to  Rome,  where  his 
attention  was  mainly  given  to  the  works  of  Perino 
del  Vaga.  In  all  he  passed  twenty-eight  years  in 
Italy,  returning  to  Spain  about  the  middle  of  the 
century.  The  first  picture  he  painted  after  his 
return  was  a  '  Nativity,'  for  Seville  cathedral,  which 
still  exists  in  the  chapel  for  which  it  was  painted. 
The  date  of  its  execution,  1655,  Bermudez  found 
in  the  records  of  the  chapter,  and  the  picture  is 
inscribed  Tuiic  discebam  Luisius  de  Vargas.  The 
better  works  of  Vargas  were  painted  in  fresco, 
and  unfortunately  little  of  them  now  remains. 
Among  the  most  remarkable  was  a  Christ  bear- 
ing His  Cross,  called  '  La  calle  de  la  Amargura,' 
('The  Street  of  Bitterness,')  which  he  painted  in 
1663-8.  Criminals  going  to  execution  were  al- 
lowed to  stop  before  this  picture  to  perform  their 
devotions.  About  thirty  years  after  its  completion, 
it  was  repaired  by  Vasco  Pereira,  a  Portuguese  artist. 
The  '  Last  Judgment,'  painted  fur  the  Casa  de  la 
Misericordia,  is  a  wreck.     The  same  fate  has  be- 

264 


fallen  the  figures  of  the  Apostles,  Evangelists,  and 
other  Saints,  which  he  painted  in  the  cathedral 
tower  in  the  last  year  of  his  life.  Of  his  pictures  in 
oil,  the  most  admired  is  a  genealogy  of  Christ,  in 
which  Adam  is  represented  adoring  the  Virgin.  It 
is  called  '  La  Gamba,'  ('  the  Leg,)  on  account  of  a 
much  admired  limb  of  the  patriarch,  as  to  which  an 
ill-founded  story  used  to  be  told  that  Perez  Alesio 
had  declared  one  limb  of  the  Adam  to  be  worth 
more  than  the  whole  of  his  own  '  St.  Christopher.' 
The  portraits  of  De  Vargas  are  excellent.  He 
died  at  Seville  in  1568. 

Luis  de  Vargas  was  mild,  benevolent,  and  charit- 
able, suffering  with  patience  the  attacks  and  injuries 
of  his  rivals.  In  his  house  be  led  the  life  of  an 
anchorite.  At  his  death  they  found  in  the  chamber 
to  which  he  used  to  retire  for  his  devotions,  hair 
shirts,  scourges,  and  other  instraments  of  mortifica- 
tion, and  even  a  coffin  in  which  he  was  accustomed 
to  repose  and  ruminate  on  death.  And  yet  he  could 
make  a  joke.  A  bad  artist  having  painted  a  '  Christ 
on  the  Cross,'  asked  his  opinion  of  the  figure  ; 
Vargas  replied,  ''  It  is  well ;  it  seems  to  be  saying 
— Lord,  forgive  them,  for  they  know  not  what  they 
do." 

VARIN,  Charles  Nicolas,  draughtsman  and 
engraver,  was  born  at  ChdIons-sur-Marne  in  1741. 
He  was  the  son  of  Jean  Baptiste  Varin,  an 
engraver  and  chaser  on  metal.  He  studied  en- 
graving under  Pierre  Quentin  Chedel,  and  also 
studied  painting.  For  a  time  he  directed  a  school 
of  art  founded  by  his  father  at  ChS,lons,  and  was 
also  curator  of  the  Chalons  musee.  He  eventually 
settled  in  Paris,  and  worked  in  conjunction  with 
bis  brother  Joseph,  occasionally  forwarding  the 
plates  of  other  engravers,  notably  those  of  Saint 
Aubin.  He  also  produced  several  independent 
plates  after  Teniers,  Wouwerman,  Fragonard,  Le 
Prince,  &c. ;  and  tlie  costume  plates  for  the  'Tab- 
leau de  I'Empire  Ottoman,'  by  D'Ohosson  Mouradja, 
published  in  1787.  Varin  died  at  Chtblons,  February 
22nd,  1812. 

VARIN,  Jean,  (or  Warin,)  a  French  draughts- 
man and  engraver  of  the  17th  century,  better  known 
as  a  medallist,  was  born  at  Lifege  in  1604,  and 
died  in  1672.  In  his  last  years  he  was  superin- 
tendent of  public  buildings,  and  master  of  the  mint. 

VARIN,  Joseph,  an  elder  brother  of  Charles 
Nicolas  Varin,  was  born  at  Chalons-sur-Marue  in 
1740.  He  studied  under  P.  Q.  Chedel  and  the 
Chev.  de  la  Touohe,  at  Chalons,  and  won  medals 
of  honour  for  his  series  of  plates  from  the  Rheims 
fetes  in  1765,  on  the  occasion  of  the  inauguration 
of  a  statue  to  Louis  XV.  in  that  city,  and  also  for 
his  large  map  of  the  Duchy  of  Burgumly.  In  both 
of  tliese  lie  was  assisted  by  his  brother,  Charles 
Nicholas  (q.  v.).  In  1760  the  brother  had  settled  in 
Paris,  where  they  worked  in  conjunction.  In  1791 
they  sent  to  the  Salon  a  view  of  the  Palais-Royal, 
and  a  perspective  of  a  proposed  place  in  Bordeaux. 
Joseph  famished  plates  for  many  publications  of 
the  day,  among  which  we  may  name :  the  greater 
number  of  the  plates  for  Blondel's  'Treatise  on 
Architecture,'  Montalembert's  'Treatise  on  Fortifi- 
cation,' Belin  and  Berthier's  '  Instruction  for  the 
Royal  Navy  ; '  for  the  'Voyage  Pittoresque'  of  the 
Abb6  St.  Non,  for  Choiseul  Gouffier's  '  Travels  in 
Greece,'  for  Cassas'  'Travels  in  Syria,  Judaea,  and 
Lower  Egypt,'  and  for  'Architecture  in  relation  to 
Art  and  Legislation,'  by  Ledoux.  He  also  engraved 
the  plates  of  antiquities  for  Sabbatier's  'Dictionary 
of  Greek  and  Latin  Authors.'     He  died  in  Paris, 


PAINTERS   AND   ENGRAVERS. 


£ome. 


Vatican  (Pii 
coteca. 


"i/ia-  )  ^j^    Resurrection. 
eca.) ) 
,  The  Madonna  and  Child. 

"  „  S3.  Placido,  Flavia,  and  Bene- 

dict. 
„  Villa  Borghese.    St.  Sebastian. 

„  Virgin  and  Child. 

„  Villa  J I  hunt.     Altar-piece. 

Bouen.  A^tw  Museum.  Three  small  pictiu-es,  forming 
the  predella  of  a  large  altar- 
piece  formerly  at  Sau  Pietro 
in  Perugia,  and  painted  for 
the  church  in  1495.  They 
represent  '  The  Adoration  of 
the  Magi,'  '  The  Baptism,' 
and  '  The  Resurrection.'  (472, 
3.4.) 
Siena.  Church  of  S.  )  ^j^^  Crucifixion. 

Ago^tino.  } 
Sinigaglia.       Monastery  \ 

Ch.ofjita.^  (.Virgin  and  ChUd  with  Saints. 


Spello. 


Maria  Delia 
Grnzit.  ) 
Church  of\ 
Santa  Maria  vPieta. 
Maygiore.j 
J,  „  Virgin  and  Child  and  Saints. 

Stuttgart.iJoyaZ  J/«sf«m.  The  Nativity. 

''^B^^  J.    ^      /';/""  {  St.  Lawrence. 
(Pyrenees).     Gallery,  j 

,,  „  Virgin  and  Child. 

Toulouse.   Picture  Gall.     St.  Jolm  the  Evangelist  and  St. 

Augustine. 

Trevi.  Church  of\ 

Santa  Maria  >The  Adoration  of  the  Magi. 

I>elle  Lacrime.  J 

Verona.     Museo  Civico.    The      Madonna     adoring    the 

Christ. 

,,  ,,  The  Adoration  of  the  Magi. 

Vienna.      Picture  Gall.     The  Baptism  of  Christ. 

,,  ,,  St.  Jerome. 

,,  ,,  Madonna  and  Child, 

„  ,,  Madonna  and  Child. 

,,     Lichtenstcin  Gall.     Nativity. 

BIBLIOGRAPHY. 

Bonacei  Brimamonti,  '  Pietro   Ferugiuo  '    in    '  Rivista 

Conti  mperanea,'  i.  1889.     Fasc.  2. 
Braghirolii,  *  Notizie   e    documeuti   inediti   iutorno   a 

Pietro  Vanuucci.'     Perugia,  1874. 
Brous.solle,J.C.,  'Pelerinages  Ombriens.'     Paris,  1S96. 
Galetti,  G., '  Lo  Stile  di  Pietro  Perugino  e  I'indirizzo 

deir  Arte  Moderna. '     Bologna,  1887. 
Lauzi,  Luigi, '  Storia  Pittorica  della  Italia,'     Bassano, 

1809. 
Lomazzo,    '  Idea   del    tempio    della    Pittura.'     Rome, 

1844. 
Lupattelli,   A.,    'Storia    della    Pittura   in    Perugia.' 

Foligno,  1895. 
Lupattelli,  A.,  '  Petit  Guide  de  P^ronse.'     Paris,  1895. 
Marches!, '  II  Cambio  di  Perugia.'     Prato,  1853. 
Mezzanotte,    '  Della    vita    e     delle    opera    di    Pietro 

Vanuucci.'     Perugia,  1836. 
Mariotti,  'Lettere  Pittoriclie  Perugine.'     1788. 
Orsiui,  '  Vita  e  Elegio  dell'  egregio  pittore  Perugino  e 

degli  Scolari  di  esso.'     Perugia,  1804. 
Pascoli,  *  Vite  de  Pittori  Perugini.' 
Phillips,  Claud, '  Perugino  '  in  the  '  Portfolio.'   London, 

1893. 
Rosini,  *  Storia  della  Pittura  Italiana.'     Pisa,  1847. 
Rossi,  A.,  '  Storia  artistica  del  Cambio   di  Perugia.' 

Perugia,  1874. 
Bossi-Scotti,  'Guida  lUustrata  di  Perugia.'    Perugia, 

1878. 
Symonds  and  Gordon,  'Story  of  Perugia.'    London, 

1898. 
Williamson,  G.  0.,  '  Pietro  Perugino.'     1900  and  1903. 

G.  C.W. 

VANNUCCHI.     See  Andrea  d'Agnolo. 

VANNUTELLI,  Scipione,  Italian  painter;  born 

at  Rome  in  November  1834  ;    studied   at  Vienna 

under  Wiirzinser,  and  completed  his  art  education 

by  residence  in  Vienna,  France  (wliere  he  worked 


with  Heilbuth),  Holland,  and  Spain.  He  painted 
liistorical  subjects,  such  as  '  Mary  Stuart  on  the 
Scaffold'  and  'Gabrielle  D'Estr^es';  also  genre 
pictures  and  portraits.  He  obtained  several 
decorations,  and  a  Paris  medal  of  the  tliird  class 
in  1864.  He  was  a  corresponding  member  of 
several  academies.  He  died  at  Rome,  May  19, 
1894. 

VANSOMER.     See  Somer. 

VAN  'T  WOUDT,  John,  son  of  Cornelius,  born 
at  the  hamlet  of  't  Woudt  near  Delft,  settled  at 
Leiden  in  1594  and  married  Aechte  van  Eyck. 
Painted  historical  subjects  and  portraits. 

Rotterdam.    Dr.Ohreen.     The  Capitulation  of  Weinsberg 
in  1140. 

Authority:  Van  Riemsdijk,  in  'Oud  Holland,' 
XIV.,  1896.  W.H.J.W. 

VANTE.     See  Attavante. 

VANUDEN.     See  Uden. 

VANVITKLLI  (or  Vanvitel).     See  Wittel. 

VANZO,  Jacopo  da.     See  Avanzi. 

VAPRIO,  Aqostino  Zenone  da,  a  member  of  a 
family  of  artists  who  came  from  Vaprio  on  the 
Adda,  in  Milanese  territory.  He  worked  priiicijially 
at  Pavia,  and  a  small  altar-piece  bearing  liis  name 
and  the  date  1498  is  still  in  existence  there  in  the 
church  of  S.  Primo.  Robolini  mentions  an  altar- 
piece  by  him  in  the  church  of  S.  Michcle,  signed 
and  dated  1486,  and  he  is  known  to  have  painted 
a  picture  for  the  church  of  S.  Giovanni.  A  lunette 
on  panel,  which  originally  came  from  S.  Giovanni, 
but  was  removed  in  1829  to  SS.  Filippo  and 
Giacomo,  niay  have  formed  part  of  this  altar-piece. 
Six  other  members  of  the  family  were  painters, 
and  were  working,  principally  as  decorative  artists, 
in  the  second  half  of  the  15th  century.        C.  J.  Ff. 

VAPRIO,  CosTANTiNO  Zenone  da,  the  most 
celebrated  member  of  the  above-named  family  of 
artists.  His  name  first  occurs  in  145.S,  at  which 
date  he  was  in  the  service  of  Francesco  Sforza, 
Duke  of  Milan  ;  he  appears  to  have  enjoyed 
the  favour  of  this  prince  and  of  his  son  Galeazzo 
Maria,  who  on  one  occasion  speaks  of  him  as  his 
beloved  friend.  In  1469  Custantino  was  painting 
in  the  Caslello  at  Milan  ;  in  1474-76,  in  company 
with  Foppa  and  others,  in  the  Castello  of  Pavia 
and  in  a  church  outside  that  city  ;  he  was  also 
employed  by  the  Sforzas  in  decorative  works  as  a 
painter  of  bardes,  of  armorial  bearing.^,  banners, 
&c.,  and  his  name  appears  frequently  among  the 
artificers  connected  with  the  building  of  the 
Cathedral  at  Milan.  From  a  document  vi  1481  we 
learn  that  he  was  as  highly  esteemed  by  the  young 
Duke  Gian  Galeazzo,  or  rather  by  his  uncle  the 
Regent  Lodovico  il  Moro,  as  he  had  been  by  the 
two  former  rulers  of  the  Duchy.  By  his  con- 
temporaries Costantino  was  also  much  tliought  of, 
and  Lomazzo  mentions  him  in  one  of  his  soimets 
in  very  eulogistic  terms.  No  works  by  him  have 
thus  far  been  identified.  C.  J.  Ff. 

VA  RALLO,  Tanzio  di.     See  Tanzio. 

VARANA.     See  Guarana. 

VARCO,  Alonso  de,  was  born,  according  to 
Palomino,  at  Madrid,  in  1645,  and  was  a  disciple 
of  Jos6  Antolinez.  He  painted  landscapes  in  the 
style  of  his  instructor,  and  was  much  employed  for 
the  convents  and  the  private  collections  of  Madrid, 
in  which  city  he  died  in  1680. 

VARCOLLIER,  Oscar,  painter,  was  bom  at 
Rome  of  French  parents  in  1820.  He  was  a  pupil 
of  Paul  Delaroche,  and  worked  in  Paris,  where  he 

263 


PAINTERS  AND  ENGRAVERS. 


Ridolfi  speaks  of  her  with  high  praise — "  Tliis 
most  worthy  lady  (Valorosa  Donna)  has  given  to 
our  admiration  many  excellent  portraits,  and  other 
proofs  of  her  talent."  Boschi  commends  her 
work  in  this  direction,  and  the  Uffizi  Gallery, 
among  its  gallery  of  artists,  contains  her  '  Self- 
portrait.'  Chiara  was  also  a  poetess,  and  the  author 
of  'An  ApoloL;y  for  the  Female  Sex,' whose  title 
seems  almost  a  work  of  supererogation.  Ridolfi 
tells  us  that  she  resembled  the  illustrious  ladies 
of  antiquity,  and  adds  she  declined  to  live  with 
her  brother.  Chiara  Varotari  was  still  living 
in  1600.  S.  B. 

VAROTARI,  Dario,  painter,  sculptor  and  archi- 
tect, was  born  at  Verona  in  1539.  Ridolfi,  who 
gives  an  account  of  his  life  and  works,  tells  us  that 
his  family  took  its  origin  "  from  Argentina,  a  noble 
city  of  German}',  and  held  the  name  of  Varioter." 
(This  was  probably  "Weyrother"  in  German; 
and  it  is  considered  that  their  birtliplace  may 
have  been  Augsburg  or  Strassburg.)  The  Lutheran 
heresy  having  broken  out  badly  in  that  locality, 
Theodoric  Varioter,  who  favoured  the  Catholic 
party,  was  "  so  persecuted  by  the  heretics  that 
he  left  his  native  place,  and,  having  settled  in 
Verona,  changed  his  Christian  name  to  Theodoro, 
and  his  surname  to  Varotari."  He  was  the  father 
of  our  Dario  Varotari,  who  seems  to  have  known 
Paolo  Caliari  at  Verona,  and  while  still  young  to 
have  practised  painting  under  his  guidance.  Later 
we  find  Dario  established  at  Padua,  and  from  there 
making  frequent  visits  to  Venice,  where  he  married 
a  Venetian  girl,  and  would,  apparently,  have  settled, 
but  that  his  health  compelled  him  to  return  to 
Padua.  Here  he  was  busy  upon  historical  paint- 
ings in  the  Hall  of  the  Podesid,  and,  Ridolli  tells  us, 
painted  in  S.  Agatha,  S.  Egidio,  the  Church  of  the 
Graces  (Cliiesa  delle  Gratie),  the  Rosario,  S. 
Agostino,  "and  when  in  the  Carmine  he  worked 
upon  certain  Sybils  and  Prophets."  Dario's  works 
in  S.  E!;idio  of  Padua  still  remain.  Later  he  went 
to  Venice,  and  was  employed  with  the  painter 
Aliense  upon  the  ceiling  paintings  of  the  SS. 
Apostoli,  painting  scenes  from  the  Acts  of  the 
Apostles.  He  was  employed  by  the  Venetian 
"  Signori  Pisani  "  in  their  palace  at  Polesine  upon 
classic  decorative  subjects  ( '  The  Labours  of 
Hercules'),  and  by  the  Mocenigi  similarly  at  Dolo, 
with  scenes  from  their  family  story,  "  which 
approach"  (says  Ridolfi)  "very  closely  to  the 
handling  of  Veronese."  Dario  was  also  an  archi- 
tect, and  besides  laying  out  their  gardens  and 
fountains  for  the  Mocenigi  at  Dolo,  built,  among 
others,  a  palace  at  Battaglia  upon  the  Brenta  for 
his  friend  Doctor  Acqua-pendente — a  name  worthy 
of  Goldoni.  He  seems  to  have  suffered  constantly 
from  ill  health,  and  the  result  of  trying  in  turn  all 
the  most  famous  doctors  of  Padua  seems  to  have 
been  merely  that  he  got  worse  instead  of  better. 
Finally,  when  visiting  Doctor  Acqua-pendente  in 
his  palace  on  the  Brenta,  he  sustained  an  injury 
while  painting,  which  resulted  soon  afterwards  in 
his  death  in  the  year  1596.  The  influence  of  both 
Titian  and  of  his  teacher,  Paolo  Caliari,  appears  in 
his  work.  The  Venice  Academy  contains  a  'Visit- 
ation of  St.  Elizabeth'  by  his  hand.  S.  B. 

VAROTARI,  Dario,  the  younger,  was  the  grand- 
son of  the  above,  and  son  of  Alessandro  Varotari, 
being  born  in  1610.  Though  he  was  a  physician 
he  practised  painting  also,  his  portraits  being  very 
popular  in  his  day ;  but  we  may  consider  him  in 
this  direction  more  probably  as  a  gifted  amateur. 


He  gave  attention  also  to  poetry  and  to  engraving ; 
and  two  portraits  engraved  by  him — one  of  these 
being  of  his  grandfather,  Dario  Varotari — are 
mentioned  by  Bartsch.  The  early  and  middle 
part  of  the  seventeenth  century  is  when  this  gifted 
descendant  of  a  most  gifted  family  was  flourishing. 

S,B. 
VASARI,  Giorgio,  painter,  architect,  and  writer, 
was  born  on  July  30,  1511,  in  the  town  of  Arezzo 
in  Tuscany.  His  imperishable  claim  on  posterity 
rests  on  his  authorship  of  the  famous  '  Lives  of 
the  most  eminent  Painters,  Sculptors,  and  Archi- 
tects.' In  his  life  of  Luca  Signorelli,  his  famous 
kinsman,  Vasari  has  described  a  visit  of  his  father 
to  the  master  of  Cortona,  in  which,  after  looking 
at  the  child's  drawings,  Luca  had  advised  his 
parent  to  let  him  pursue  the  study  of  design  ; 
and,  turning  kindly  to  the  little  Giorgio,  said  to 
him — "Study  well,  little  kinsman."  The  advice 
was  taken  to  heart  by  both  hearers.  Giorgio 
gained  his  first  art  instruction  at  Arezzo  from 
Guglielmo  da  Marietta,  copied  busily  in  the 
churches  of  Arezzo,  and  pursued  his  literary 
education  at  the  same  time  under  the  charge  of 
Messer  Giovanni  Pollastra.  The  results  of  this 
training  showed  to  advantage  when,  in  1523,  the 
Cardinal  of  Cortona  stopped  at  Arezzo  on  his  way 
to  Florence  ;  for  before  this  illustrious  visitor  the 
small  Giorgio,  then  a  child  of  twelve,  seems  to 
have  recited  the  best  part  of  Virgil's  'jEneid,' 
besides  holding  a  "  private  view  "  of  his  artistic 
efforts.  Cardinal  Passerini,  evidently  impressed 
by  the  acquirements  of  this  infant  prodigy,  sug- 
gested his  going  to  Florence.  The  otter  was 
promptly  accepted,  and  Giorgio  placed  himself  under 
Michelangelo;  while  he  studied  the  Humanities  in 
the  company  of  Ippolito  and  Alessandro  de'  Medici. 
Later  Cellini's  rival,  Baccio  Bardinelli,  became  his 
master,  and  Francesco  Salviati's  friendship  formed 
a  lifelong  tie.  A  change  in  the  political  kaleido- 
scope altered  this  busy  life  of  study  ;  the  Medici 
were  thrust  forth  to  exile,  and  Giorgio  returned  to 
Arezzo  to  copy  the  Giottesques.  The  lad  of 
eighteen  was  already  an  indefatigable  worker,  and 
he  went  on  to  Rome  in  the  suite  of  the  Cardinal 
Ippolito  de'  Medici.  Here,  in  the  congenial  com- 
pany of  Francesco  Salviati,  he  devoted  himself  to 
enthusiastic  study  of  the  city's  art  treasures.  In 
his  long  and  busy  life  Vasari  shows  hiinfielf 
always  a  strenuous  worker.  Painting,  architec- 
ture, Court  duties  must  have  fille<l  up  every 
moment  of  his  day  ;  yet  he  was  always  up  to 
time  with  his  contracts,  and  he  approached  his 
great  literary  achievement,  the  '  Lives,'  in  the 
same  spirit  of  serious  research  and  sustained 
effort.  Overstudy  in  Rome  resulted  in  serious 
illness  ;  but  he  soon  recovered  in  the  pure  air 
of  his  native  Arezzo,  and  finding  his  way  back 
to  Florence,  where  the  Medici  were  now  in  power, 
was  well  received  by  the  new  Duke,  Alessandro,  and 
placed  under  Ottaviano  de'  Medici's  special  pro- 
tection and  pitronage.  It  was  after  the  death  of 
Cardinal  Ippolito  that  Vasari  turned  his  attention 
to  architecture,  and  gained  useful  experience  in 
the  decorations  which  he  helped  to  arrange  upon 
the  visit  to  Florence  of  the  Emperor  Charles  V. 
But  with  the  assassination  of  Duke  Alessandro, 
who  had  proved  a  most  generous  patron,  his  good 
fortune  became  again  clouded.  (Josimo,  the  new 
Duke,  was  not  too  friendly,  and  by  Ottaviano's 
advice  Vasari  decided  to  leave  Florence.  He  says 
himself — "  Having  thus  in  a  few  years  lost  Pope 

267 


A  BIOGRAPHICAL   DICTIONARY   OF 


Clement,  Ippolito,  and  Aleseandro,  I  resolved  by 
the   advice   of    Messer    Ottaviano    to    follow   no 
longer  the  fortune  of  Courts,  but  to  tliink  of  Art 
alone."    This  good  resolve  lasted   at  least  for  a 
while  ;  and  three  quiet  summers  were  spent  upon 
the  hillsides  of  Camoldoli.     It  was  here  that  he 
met   Bindo   Altoviti,  the   great   Roman   financier 
and    patron  of  art,  who  proved  a  most   valuable 
friend.     In  1541  he  visited  Correggio's  paintings 
at   Parma,  was   the   guest   of  Giulio    Romano  at 
Mantua,    and     enjoyed     Aretino's    friendship    at 
Venice ;   while  the  winter  following  saw  him    at 
Rome  in  the  house  of  Altoviti,  for  whom  he  was 
painting  a  'Deposition.'    The  introduction  to  Car- 
dinal Farnese  marks  an  important  point  in  the  life 
of  Vasari.     It  was  not  merely  that  this  prelate — 
the  greatest  art-patron  of  Rome  in  his  day — gave 
Vasari  his  commission  to  paint  the  frescoes  of  the 
Cancellaria  ;  but  he  also  suggested  to  him  at  some 
banquet   the   idea   of  the   famous   '  Lives.'     This 
great   work   was  completed    in  1547,  revised    by 
Annibale  Garo  (for  whom   he  painted  a  '  Venus 
and  Adonis  ')  and  otliers  as  to  style,  and  published, 
in  1550,  with  a  dedication  to  "The  Most  Illus- 
trious and  Most  Excellent  Lord  Cosimo  de'  Medici, 
Duke  of  Florence."     Vasari  had  now  married,  on 
the    advice    of    Cardinal    de'   Monti,   later    Pope 
Julius  III.,  and  had  been  busied  on  this  Pope's 
Villa  Giulia  without  Rome  ;    but  in  1553  he  de- 
finitely  entered    the  service  of  Duke  Cosimo    at 
Florence,   and    remained    in    that    service,    with 
sometimes  a  brief  leave  of  absence,  as  in  1567, 
till  the  end  of  his  life.     His  knowledge  of  archi- 
tecture now  proved  invaluable.  The  stern  mediaeval 
palace  was  to   be  transformed   into   a   ducal  re- 
sidence ;  and  the  clever  artist  must  raise  ceilings, 
throw  open  wide  staircases,  and  cover  the  walls  of 
the  great  sala  with  frescoes  we  could  well  have 
spared.     Vasari   could    always   be    relied    on    to 
''rush"  a  decoration,  and  keep  contract  time  ;  and 
this  work  was  ready  for  the  marriage  of  Cosimo's 
eldest  son  to  the  Arch-Duchess  of  Austria,  when 
the  artist   was  needed    again   in  the   decorations 
which  were  to  grace  the  splendid  nuptials.     His 
architectural  work  of  the  same  period  is  important. 
He  seems  to  have  been  well  treated  by  bis  ducal 
patron.     A  house  was  given  to  him  in  the  Borgo 
S.  Croce,  and  he  held  the  ofHce  of  Gonfaloniere  of 
Arezzo,   with   the  privilege  of  appointing  a  sub- 
stitute in  his  absence.     In  1567  he  obtained  leave 
of  absence,  which  he  spent  in  visiting  Rome  to 
see  Pope  Pius  V.,  who  consulted  him  on  the  plans 
of  St.  Peter's,  and  in  building  a  chapel  in  Arezzo 
which  he  decorated  in  fresco,  and  where  he  was 
afterwards  buried. 

Yet  all  the  while  he  was  busy  collecting  fresh 
material  to  be  added  to  his  '  Lives' ;  while  in  1570 
he  was  again  in  Rome,  painting  the  historical 
decorations  of  the  Sala  Regia,  and  from  this  time 
he  w:i8  torn  between  Rome  and  Florence,  with 
patrons  in  each  place  who  needed  his  services.  The 
Duke  had  just  placed  within  his  hands  the  com- 
mission to  decorate  in  fresco  the  cupola  of  the 
Florentine  Duomo,  which  Giorgio  believed  was  to 
set  the  seal  upon  his  Irfe-work  in  painting.  But 
the  Pope  now  insisted  on  having  his  Sala  Regia 
completed,  and  poor  Giorgio,  tlioiigh  at  last  show- 
ing a  little  temper,  had  to  hurry  oflE  to  Rome. 
Here  again  he  carried  through  his  decorations  up 
to  time  ;  and  on  Corpus  Domini  of  1573  the  Sala 
Regia  was  thrown  open  to  the  public.  In  the 
midst  of  the  triumph  of  his  completed  work  an 
268 


offer  now  came   to    him    from   King    Philip    of 
Spain  to  visit  Madrid.     But  Vasari  had  to  refuse: 
and  he  died   a   year  later  (June   27,   1574),  still 
busied  with  his  work  upon  the  nearly  completed 
frescoes  of  the  cupola  of  S.   Maria  del  Fiore  at 
Florence.     His  painting,  though  it  was  probably 
what  he  attached  most  importance  to  in  bis  own 
estimate  of   his  achievement,  is  what   has    least 
withstood  the  changes  of  style  and  critical  taste. 
His  work  in  architecture,  to  which  Michelangelo 
earnestly  commended  him  to  devote  his  attention, 
is   of  considerable   interest.     The   Palace   of  the 
Uffizi  was   due  to   him,  with   its  corridor  which 
still  connects  it  with  the  Pitti  Palace,  and  which 
was   thrown    by   him    across    the    Arno   in    five 
months.     The  changes  which  he  made  in  S.  M. 
Novella   of    Florence, — by   the    removal    of    the 
rood  screen,  and  throwing  out  of  side  chapels, — 
and   in  S.    Croce   of  that  city,  it   is   difficult   to 
regard    approvingly.      At   Pistoja    he    built    the 
cupola  of  the  Madonna  dell  Umiltk,  and  at  Pisa 
the  Palace  of  the  Knights  of  St.  Stephen;  while  at 
Arezzo    the    Badia   de'   Cassinensi    and   the   Casa 
Montanti  (formerly  his  own  house)  are  due  to  his 
design.     The  '  Lives  of  Painters,  Sculptors,   and 
Architects'  is  his  monument.     Whatever  its  de- 
fects and   omissions  it   is  a  work  of  stupendous 
industry,   a   most   precious   record   of    the   great 
epoch  in  the  world's  art.     The  first  edition  ap- 
peared in  1550,  the  second  in  1668,  a  later  one  in 
1648,  and  a  fourth  at  Rome  in  1749  with  Bottari's 
notes.     More  modern  editions  have  been  tliose  of 
Passigli     (Florence,    1832-8);     of    Le     Monnier 
(Florence,  1845-56)  ;    and   of  Sansoni  (Florence, 
1878-85),    edited     and     annotated     by    Gaetano 
Milanesi.     The  English  version  of  Vasari's  '  Lives' 
forms  part  of  Bohn's  Standard  Library  ;  and  there 
is   a  selection  of  '  Seventy  Lives '  from   Vasari's 
work  edited  and  annotated  by  E.  H.  and  E.  W. 
Blashfield   and   A.   A.    Hopkins    (London,   1897). 
Vasari's   lesser   writings,    his    '  Letters '    and    the 
'  Ragionamenti '  (published  in  1588  after  his  death) 
between  himself  and  his  Duke  in  diiferent  rooms 
of    the    Palace,   as   well    as   his   account   of    the 
decorations    for   the   wedding   of    Francesco    de' 
Medici   and    Giovanna   d'Austria,   will    be   found 
carefully  collated  in  the  last  volume  of  MdanesL 
Among   his   most   interesting   paintings    are  the 
following  : 

Arezzo,  Academy.    Banquet  of  Ahasuerufl. 

,,  Finacoteca.     Virgin  and  Saints. 

Berlin.  Museum.     Portrait  of  Cosimo  I. 

Jiologna.  Pinacoteca.     Supper  of  St.  Gregoiy. 

„  „  Christ     with     Martha     and 

Mary. 
Dresden.  Gallery.    Pieta,  or  '  Deposition  from 

the  Cross.' 
Florence.  5.  Croce.    Christ  bearing  His  Cross. 

„  „  The  La.st  Supper. 

„       5.  Maria  Novella.     Crucifixion. 
„  SS.  Annun:iata.     St.  Luke  painting  the  Virgin. 

„  Accademia.     Vision  of  Count  Ugo. 

jj  „  Birth  of  the  Virgin. 

„  Uffizi  Gallery.     His  own  portrait. 

„  „  Portrait  of  Lorenzo  il  Msg- 

nifico. 
„  „  Portrait    of   Alessandro  do' 

Medici. 
„  Pitti  Palace.     Temptation  of  St.  Jerome. 

„  „  Holy    Family,    SS.    Joseph 

and  Elizabeth  behind. 
Liverpool.  Royal  Institute.     SS.  Peter,  Paul,  and  Jerome. 
Lucca.  Chiesa  del  Carmine.     The  Conception. 

,,  „  Charity,         with        several 

Children. 


GIORGIO  VASARI 


Hanfstdngl pitotoi  {l-,em,a  Gallery 

CHRIST  DRIVING  THE  TRADERS  FROM  THE  TEMPLE 


PAINTERS  AND  ENGRAVERS. 


Madrid.   Museo  del  Prado. 

Naples.  Cathedral. 

Paris.       Mvsee  du  Louvre. 

'Rovae.S.Pietro  inMontorio. 

,,         Galleria  Borgkese. 


Siena. 


Vienna. 


Academy. 


Gallery. 


Virgin  and  Child,  with  two 

Angels. 
The  Nativity. 
The  Annunciation. 
Conversion  of  St.  Paul. 
Lncrezia. 

LeJa  with  the  Swan. 
Resurrection  of  Christ. 
Eneas    escaping    from   Troy 

(school  picture). 
Holy  Family. 
ChriSt  in  the  Temple. 


Also  in  Buda-Pesth,  Leipzig,  Parma,  Munich,  &c. 

VASAKI,  Lazzaro,  great-grandiather  of  the 
historian  Vasiri,  was  born  at  Arezzo  in  1399.  He 
was  a  friend  and  co-worker  of  Piero  della  Fran- 
cesca.  Early  in  life  he  painted  nothing  but  small 
ornamental  ligures  in  armour,  banners,  and  the 
larger  pictures  of  other  artists  ;  but  at  a  later  date 
he  worked  in  fresco  both  at  Arezzo  and  Perugia, 
and  furnished  designs  to  the  glass  painter  Fabiano 
Sassali  for  the  'Madonna'  and  '  Resurrection' win- 
dows in  tlie  Madonna  delle  Grazie,  Perugia. 
Lazzaro  died  in  1450.  His  son  Giorgio,  grand- 
father to  the  biographer,  also  worked  at  Arezzo  as 
a  modeller  and  painter  of  pottery.  He  died  in 
1481. 

VASCELLINI,  Cajetano  or  Gaetano,  (or  Vac- 
CELLlNi,)  an  Italian  engraver,  was  born  at  Castello 
San  Giovanni,  in  the  Bolognese,  about  1745.  He 
learned  the  principles  of  design  from  Ercole  Gra- 
ziani,  was  instructed  in  engraving  by  Carlo  Faucci 
at  Florence.  He  etched  some  original  portraits  of 
distinguished  Florentines,  and  also  engraved  after 
various  Italian  masters.  The  following  are  among 
his  principal  plates : 

Andrea  del  Sarto. 

Daniello  Ricciarelli  da  Volterra. 

Oosimo  I. ;  after  the  statue  by  Giovanni  da  Bologna. 

S.  Joseph  and  S.  Francis  of  Paula  ;  after  Seb.  Conca. 

The  penitent  Magdalene  ;  after  F.  Furini. 

Venus;  after  Titian. 

Danao  ;  after  the  same. 

The  Last  Supper ;  after  L.  Signorelli, 

VASCIBRACCI.    See  Vassilacchi. 

VASCO,  Gran.    See  Fernandez. 

VASCO  PEREIRA.     See  Pereira. 

VASCONI,  FiLiPPO,  who  flourished  about  the 
year  1720,  engraved  several  views  of  Venice  and 
its  neighbourhood. 

VASI,  GiDSEPPE,  Cavaliere,  designer  and  en- 
gn'aver,  was  born  at  Corleone  in  Sicily  in  1710. 
He  was  at  first  a  painter,  but  afterwards  went  to 
Rome  and  studied  under  Sebastian  Conca,  P.  L. 
Ghezzi,  and  Juvara.  He  engraved  some  of  the 
designs  for  the  decorations  set  up  at  the  coronation 
of  Ferdinand  of  Naples.  He  was  employed  on 
several  views  of  the  Harbour  of  Ancona  for  Bene- 
dict XIV.,  which  confirmed  his  reputation.  After 
this  followed  plates  from  the  fa9ades  of  San 
Giovanni  in  Laterano  and  Santa  Maria  Maggiore, 
and,  for  Charles  III.,  of  the  Festivities  on  the 
birth  of  his  son  in  1745,  which  procured  him  the 
post  of  engraver  to  the  court  of  Naples.  He  was 
also  made  a  Knight  of  the  Golden  Spur.  He  died 
at  Rome  in  1782.  He  engraved  some  hundreds  of 
plates  from  the  buildings  of  that  city,  and  also 
painted  in  the  Famese  and  Caprarola  Palaces. 
Piranesi  was  his  pupil. 

VASLET,  Lewis,  miniature  painter,  practised 
at  York  and  Bath,  towards  the  close  of  the  18th 
century.     He  was  an  occasional  exhibitor  at  the 


Royal  Academy,  his  last  contribution  being  there 
in  1782. 

VASQDEZ.    See  Vazquez. 

VASSALLO,  Antonio  Mabia,  was  a  native  of 
Genoa,  and  flourished  about  the  year  1650.  He 
was  a  scholar  of  Vincent  Malo,  of  Cambray,  who 
had  studied  under  Rubens.  Vassallo  painted 
landscapes,  animals,  fruit,  flowers,  &c.,  which 
were  well  coloured,  and  touched  with  freedom. 
He  also  gave  proof  of  considerable  ability  in 
historical  subjects,  but  died  young. 

VASSEUR.     See  Le  Vasseur. 

VASSILACCHI,  Antonio,  (or  Vascibracci,) 
called  L'Aliense,  was  born  in  the  Grecian  island 
of  Milo,  in  the  Archipelago,  in  1556.  He  was  sent 
to  Venice  when  he  was  young,  where  he  became  a 
scholar  of  Paolo  Veronese.  In  1574  he  assisted 
Tintoretto  and  Paolo  Veronese  in  decorating  the 
city  for  the  visit  of  Henrj'  III.  of  Poland,  and  his 
share  of  the  work  attracted  much  notice.  He 
visited  Treviso,  where  he  worked  under  Benedetto 
Caliari ;  and  Padua,  where  he  was  influenced  by 
Dario  Varotari.  A  visit  to  Rome  and  the  work  of 
Michelangelo  in  the  Sistine  Chapel  also  told  upon 
his  style.  Ah  early  work  was  a  picture  of  '  St. 
Sebastian,  with  a  glory  of  angels,'  for  the  church 
of  Santa  Maria  delle  Vergine,  and,  on  its  being 
reported  that  it  was  from  a  design  by  Paolo 
Veronese,  he  determined  to  get  rid  of  all  the 
drawings  he  had  made  in  that  master's  school,  as 
a  proof  of  his  determination  to  abandon  his  style. 
He  then  applied  himself  to  study  Tintoretto,  and, 
in  a  fair  imitation  of  his  manner,  painted  an 
'Abraham  sacrificing  Isaac,'  a  'Cain  slaying  Abel,' 
and  a  '  Brazen  Serpent'  Several  of  the  best  pro- 
ductions of  Aliense  are  in  the  Sala  dello  Scrutinio. 
He  also  painted  in  San  Giorgio,  Venice,  and  San 
Pietro,  Perugia.     He  died  at  Venice  in  1629. 

VAUCHELET,  Theophile  AnoDSTE,  a  French 
historical  and  portrait  painter,  was  born  at  Passy 
in  1802.  He  entered  the  ficole  des  Beaux  Arts  in 
1822,  and  studied  under  Abel  de  Pujol  and  Hersent. 
In  1827  he  obtained  the  second  grand  prix  for  his 
'Coriolanus,'  and  in  1829  the  first  grand  prix  for  a 
'Jacob  refusing  to  send  Benjamin.'  His  works 
appeared  at  the  Salon  from  18.^0  to  1868,  and  he 
won  all  the  orthodox  honours  up  to  the  Legion  of 
Honour.  He  had  considerable  practice  in  mural 
decorations,  and  executed  works  in  the  great  hall 
and  chapel  of  the  Senate  ;  at  the  churches  of  St. 
Germain  I'Auxerrois  and  St.  Eustache  (but  these 
are  now  destroyed),  at  the  Tuileries  and  the 
Hotel  do  Ville.  He  died  in  1873.  Amongst  his 
easel  pictures  are : 

Amiens.  Musmm.     Christian  Charity. 

Versailles.  Palace.     The  Surrender  of  Magdeburg. 

„  „  Portrait  of  Prince  Poniatowskl 

„  „  „  Marshal       Gouvion 

St.  Cyr. 
„  „  „  Duo     de    Choiseul- 

Stainville,  &C.&C. 

VAUDECHAMP,  Jean  Joseph,  painter,  born  at 
Ramberviilers  (Vosges)  in  1790.  He  was  a  pupil 
of  Girodet.  He  painted  a  '  S.  Carlo  Borromeo '  for 
the  chapel  in  the  Royal  Tapestry  Factory  at  Beau- 
vais,  and  exhibited  portraits  and  historical  pictures 
at  the  Salon  from  1817  onwards.    He  died  in  1866. 

VAUGHAN,  Robert,  an  English  engraver,  who 
practised  about  the  middle  of  the  17th  century. 
He  was  chiefly  employed  on  portraits  and  other 
plates  for  the  booksellers,  which  are  sought  after 
for  the  sake  of  sitters  rather  than  for  their  merit  as 

269 


A  BIOGRAPHICAL  DICTIONARY  OF 


art.  He  engraved  a  plate  in  Dugdale's  '  Warwick- 
shire,' and  some  of  the  maps  ;  tlie  prints  for  Mor- 
ton's 'Ordinal,'  and  some  of  those  for  Ashmole's 
'Theatnim  Chemicum,'  in  1651.  Vertue  informs 
us,  that  during  the  interregnum,  Vaughan  engraved 
a  portrait  of  Charles  II.,  to  which  he  affixed  so 
offensive  an  inscription,  that  after  the  Restoration 
he  was  prosecuted  for  it.  He  died  towards  1667. 
Among  others,  the  following  portraits  by  him 
are  extant : 

James  I. 

Lauucelot  Andrews,  Bishop  of  'Winchester. 

Sir  John  Wynn  of  Gwydyr,  Bart. 

George  Clifford,  Earl  of  Cumberland. 

John  Fisher,  Bishop  of  Rochester. 

Artliur  Hildesham,  Preacher  at  Ashby-de-la-Zoucbe. 

Sir  Francis  Drake.    |    Sir  Walter  Raleigh. 

Sir  Thomas  Ly  ttleton,  Chief  Justice  of  the  King's  Bench. 

Thomas  Wilsford,  Mathematician. 

Edward  Terry,  Rector  of  Greeuford,  Middlesex.     1655. 

(His  latest  known  work.) 
Henry  and  Robert  Vere,  both  Earls  of  Oxford. 
Thomas  Weutworth,  Earl  of  Strafford. 
James  Usher,  Bishop  of  Armagh. 

Sir  George  Crooke,  Chief  Justice  of  the  King's  Bench. 
Edward  Turgis,  Poet.    |    Ben  Jonson,  Poet. 

VAUGHAN,  William,  an  English  engraver,  was 
probably  related  to  Robert  Vaughan,  and  flourished 
about  the  same  time  or  slightly  later.  He  also 
was  principally  employed  by  the  booksellers. 
Three  prints  by  him,  engraved  for  a  small  folio 
pamplilet  describing  the  '  Sufferings  of  Sir  William 
Dick,  of  Braid,'  are  known.  He  engraved  a  set  of 
thirteen  plates  of  animals  for  'A  Book  of  such 
Beasts  as  are  most  useful  for  drawing,  graving, 
or  arms  painting  and  chasing  (designed  by  F.  Bar- 
low, and  engraved  by  William  Vaughan)  ;'  1664. 

VAULOT,  Cladde,  a  French  subject  and  portrait 
painter,  was  born  in  1818.  He  studied  under  Cog- 
niet,  and  commenced  to  exhibit  at  the  Salon  in 
1837.  He  practised  in  Paris,  but  his  career  was 
cut  short  by  his  early  death  in  1842. 

VAUQUER, ,  a  native  of  France,  who  was 

probably  a  goldsmith  b3'  profession.  He  engraved, 
from  his  own  designs,  several  plates  of  flowers  and 
ornamrntal  foliage,  for  a  '  Livre  des  Fleurs  propres 
pour  orfevres  et  graveurs.' 

VAUROZE.     See  Friquet. 

VAUTIIIER,  Jdles  Antoine,  draughtsman, 
painter,  and  lithographer,  was  born  in  Paris  in 
1774.  He  was  a  pupil  of  Regnault,  and  won  the 
second  prize  at  the  ficole  des  IJeaux  Arts  in  1801. 
He  exhibited  a  few  pictures  at  the  Salon,  but  was 
best  known  by  his  drawings  for  various  publications 
on  classic  art.    He  died  of  cholera  in  Paris  in  1832. 

His  brother,  Antoine  Charles,  a  natural  history 
draughtsman,  born  in  Paris  in  1790,  made  the 
drawings  for  an  edition  of  Buffon,  and  for  the 
'  Dictionnaire  classique  d'Histoire  naturelle,'  both 
published  by  Beaudoin  ;  also  for  the  '  Collection 
des  Papillons  diurnes  et  crdpusculaires  de  France,' 
published  by  Cr^vot. 

VAUTIER,  Marc  Louis  Benjamin,  German 
painter,  of  Swiss  extraction,  born  April  29th,  1829, 
at  Merges  (Kanton  Waadt);  studied  at  Geneva 
under  Hubert  and  Luijjardon,  and  then  became  a 
pupil  of  R.  Jordan  at  Dusseldorf ;  after  a  year  in 
Paris  he  settled  at  Diisseldorf  and  became  one  of 
the  favourite  genre-painters  of  ihat  school,  por- 
traying peasant  life  with  that  peculiarly  common- 
place touch  that  never  fails  to  please  the  masses. 
His  'Card-players '  is  in  the  Leipzig  Museum,  and 
his  '  Dancing  Lesson '  may  be  seen  at  the  Berlin 

270 


National  Gallery,  while  the  public  collections  of 
Bale,  Berne,  Breslau,  Diisseldorf,  Geneva,  Ham- 
burg, and  Stettin  all  possess  examples  of  his  work. 
He  illustrated,  among  other  books,  Auerbach'a 
'  Barfiissele ' ;  he  was  a  member  of  various  Acade- 
mies, and  the  holder  of  several  decorations.  He 
died  at  Diisseldorf,  April  25th,  1898. 

VAUZELLE,  Jean  Ldbin,  a  French  painter, 
born  at  Angerville  in  1776,  was  a  pupil  of  Perrin 
and  of  Hubert  Robert,  and  painted  chiefly  views  of 
buildings,  ruins,  classic  monuments,  and  interiors, 
a  large  number  of  which  he  exhibited  at  the  Salon 
from  1799  onwards.  He  also  produced  a  good 
many  illustrations  for  books. 

VAVASSORI,  (VALVASSORI,)  Giovanni 
Andrea,  an  Italian  engraver  over  whom  is  a 
standing  controversy.  A  theory  has  been  brought 
forward  that  he  was  identical  with  Zoan  Andrea, 
an  engraver  of  the  early  part  of  the  sixteenth  cen- 
tury (see  the  first  volume,  under  the  title  of 
Andrea,  Zoan).  In  Fisher's  'Introduction  to  a 
Catalogue  of  the  early  Italian  Prints  in  the  British 
Museum '  all  existing  items  of  information  about 
Zoan  Andrea  are  reviewed.  He  is  called  by 
the  Abb6  Zani  a  Venetian,'  and  was  occupied  at 
Mantua  in  making  facsimiles  of  Andrea  Mantegna's 
prints  and  drawings.  At  a  period  not  exactly 
known  he  was  involved  in  a  dispute  between 
Andrea  Mantegna  and  one  Siraone  di  Ardizoni, 
a  painter  and  engraver,  with  whom,  as  appears 
from  a  document  in  the  Gonzaga  archives,  he  had 
previously  been  living  and  collaborating  in  Verona 
(Lippraann,  '  Wood  Engraving  in  Italy,'  1888).  The 
monogram  \  j{  (in  Gothic  characters)  has  been 
confounded  with  the  Z.  A.  signature  which  occurs 
in  numberless  Italian  prints  of  the  fifteenth  century, 
and  both  of  them  have  been  referred  to  Giovanni 
(or  Zoan)  Andrea  Vavassori,  "dettoGuadagnino" — 
wrongfully,  in  Lippmann's  opinion,  who  believes 
the  monogram  Z.  A.  was  "simply  the  mark  used 
to  indicate  a  particular  workshop."  Vavassori,  a 
wood-engraver,  or  at  least  a  publisher  of  wood- 
cuts, was  publishing  at  Venice  during  the  first 
years  of  the  sixieenth  century.  He  published  the 
'Opera  Nuova  Conteniplativa '  in  1516 — the  so- 
called  '  Biblia  Pauiierum,'  the  only  known  Italian 
block-book,  a  series  of  wood-cuts  from  the  Passion, 
with  lines  of  text  at  the  bottom  of  each.  This  is 
the  earliest  known  book  printed  at  his  press,  and 
there  is  no  previous  mention  of  Vavassori's  name. 
In  1531  bis  name  appears  as  that  of  a  printer,  in 
partnership  with  bis  brother  Florio,  in  a  book  con- 
taining instructions  how  to  compose  love-letters. 
He  also  published  engravings  of  patterns  for  lace, 
entitled  '  Opera  nova  Universal  intitulata  Corona 
di  Ricamini,'  and  continued  printing  at  Venice  for 
a  period  exceeding  fifty  years  subsequent  to  1516 
(Fischer).  If  Vavassori  were  identical  with  the 
engraver  Zoan  Andrea,  "  the  varied  career  of  this 
latter  as  an  artist  and  a  printer  nmst  have  been 
protracted  to  the  incredible  period  of  seventy 
years."  Vavassori's  death  must  have  taken  place 
before  1584,  as  mention  of  bis  heirs  is  made  in  a 
pattern-book  of  Jean  Ostans,  of  that  date.  Many 
of  Vavassori's  prints  bear  the  inscription  :  Giovanni 
Andrea  Vavassori  detto  Guadagnino,  or  some 
variant.  In  the  Berlin  Print-Room  there  is  a 
print  inscribed  :  In  Venetia  per  Zuan  Andrea 
Vadagnhio  di  Vauasor.  M.  J. 

VAYEMBOURG,   Jean   de,  who   flourished   at 

'  Zoan  =  a  Venetian  contraction  of  Giovanni. 


PAINTERS  AND  ENGRAVERS. 


Nancy  from  1592  to  1602,  was  court  painter  to 
Charles  III.  of  Lorraine. 

VAYMER,  Giovanni  Enrico,  a  Genoese  painter, 
born  1665,  pupil  of  Giov.  Bat.  Gaulli.  He  obtained 
a  considerable  reputation  as  a  portrait  painter,  and 
was  three  times  summoned  to  paint  the  king  and 
royal  f  iraily  at  Turin.  He  was  invited  to  remain 
at  the  court,  but  declined.     He  died  in  1738. 

VAZQUEZ, ,   a   Portu,;,'uese  who,  in   1562, 

painted  a  '  Descent  from  the  Cross '  and  a  '  Martyr- 
dom of  St.  Sebastian '  on  a  panel  for  the  church 
of  San  Lucar  de  Borromeda,  in  Anilalusia.  The 
latter  wag  inscribed  :  Vazquez  Liisitanus  turn: 
incipiebam  anno  1562. 

VAZQUEZ,  Alonso,  (or  Vasquez,)  painter,  was 
born  at  Ronda,  Andalusia,  in  the  latter  part  of  ths 
16th  century,  and  was  educated  at  Seville,  under 
Antonio  Arfian.  He  painted  history,  and  was  a 
contemporary  and  rival  of  Francisco  Pacheco.  His 
principal  works  are  in  the  monastery  of  the 
'  Merced  Calzada,'  at  Seville,  and  comprise  a  series 
from  the  Life  of  S.  Raymond,  a  '  Magdalene,'  and  a 
'  Pieti.'  He  was  one  of  the  artists  employed  on 
the  magnificent  catafalque  erected  in  Seville  cathe- 
dral for  the  requiem  mass  of  Philip  II.,  in  1598. 
The  date  of  his  death  is  not  known,  but  it  took 
place  before  1649.     Few  of  his  pictures  exist. 

VAZQUEZ,  Juan  Badtista,  painter  and  sculptor, 
was  born  at  Seville  towards  the  end  of  the 
16th  century.  He  studied  painting  under  Diego 
de  la  Barrera.  In  1568  he  painted  an  altar-piece 
for  the  chapel  then  existing  in  the  orange-tree 
court  of  the  Alhambra,  at  Granada.  Vazquez  was 
an  artist  of  considerable  genius,  and  did  much  to 
develop  painting  in  Andalusia.  The  date  of  his 
death  is  unknown,  but  in  1579  he  was  at  work  in 
Malaga  Cathedral. 

VEAU,  Francesco,  a  painter  of  architecture  and 
perspectives,  was  bom  at  Pavia  in  1727,  and  died 
in  1768.     He  was  an  excellent  decorative  painter. 

VEAU,  Jean  le.     See  Leveau. 

VECCHI,  Giov.  DEI.     See  Dei  Vecchi. 

VECCHIA,  P.  DELLA.     See  Della  Vecchia. 

VECCHIETTA.     See  Lorenzo  ni  Pietro. 

VECCHIO,  IL,  Di   San   Behnardo.     See  Min- 

ZOCOHI, 

VECCHIO,  Palma.     See  Palma. 

VECELLI.     See  Titian. 

VECELLIO,  Cesare,  a  distant  relative  of 
Titian's,  born  in  1521  (?)  at  Cadore.  He  was  both 
painter  and  engraver,  and  travelled  with  Titian  to 
Augsburg  in  1548,  working  apparently  as  his 
assistant.  The  Brera  at  Milan  has  a  'Trinity  '  by 
him.  In  1590  he  published  his  well-known  book 
upon  costume,  '  Degli  Abiti  Autichi  e  Moderni,' 
with  420  woodcuts  which,  however,  were  not  exe- 
cuted by  him,  but  by  Christopher  Chrieger,  of 
Nuremberg,  who  went  to  Venice  and  died  there  in 
1587.  In  1592  he  published  his  '  Corona  delle 
nobili  et  vertuosi  donne,'  and  his  'Gioello'  in 
1594,  and  died  at  Venice  in  1601.  M.J. 

VECELLIO,  Francesco,  born  at  Cadore,  a 
brother  of  Titian,  is  said  to  have  distinguished 
hims.  If  in  the  battles  under  the  walls  of  Verona 
and  Vincenza,  and  afterwards  to  have  returned  to 
painting,  whicli  he  subsequently  gave  up  for  trade 
in  timber,  for  which  he  obtained  privileges  through 
King  Ferdinand  in  1534,  and  again  in  1548. 
Finally  he  removed  to  Cadore  from  Venice,  and 
died  there  about  1559.     Works  : 

Berlin.  Museum.    Virgin   enthroned    with    SS. 

Peter  and  James. 


Dresden.  Gallery.     Ecce  Homo  (doultful). 

Venice.  Academy.     The  Aiuiunciation. 

„  „  A  Madonna. 

Also  the  organ  shutters  of  the  church  of  San  Salvatore. 

M.J. 

VECELLIO,  Marco,  called  Marco  di  Tiziano, 
was  born  at  Venice  in  1545.  He  was  the  nephew 
of  Titian,  and  accompanied  his  distinguished  uncle 
in  his  journeys  to  Rome  and  Germany.  He  was 
the  favourite  disciple  of  Titian,  and  approached 
nearer  to  his  style  than  any  other  member  of 
the  family.  There  are  several  pictures  by  him 
in  the  Doge's  palace,  among  the  best  an  allegory 
in  the  ante-chamber  to  the  Sala  del  Gran  Con- 
siglio.  Another  good  example  is  a  picture  in 
the  Sala  della  Bussola,  '  The  Doge  Leonardo 
Donato  before  the  Virgin  and  Infant  Christ.'  He 
also  painted  for  churches  at  Venice,  Trevigi,  and 
in  the  Friuli,  among  other  things  a  'Christ  ful- 
minating the  world,  and  tlie  Virgin  and  several 
Saints  interceding,'  in  S.S.  Giovanni  e  Paolo,  at 
Venice.     He  died  in  1611. 

VECELLIO,  Orazio,  the  son  and  pupil  of  Titian, 
born  at  Venice  about  1528.  His  principal  work, 
a  wall-painting  in  the  Hall  of  Great  Council, 
representing  the  battle  between  Barbarossa's 
soldiers  and  the  Romans  at  the  foot  of  the 
Engelsburg,  praised  by  Vasari  for  certain  details, 
was  destrtryed  by  fire  in  1577.  He  accompanied 
Titian  to  Rome,  and  made  a  reputation  in  por- 
traiture. He  was  frequently  employed  by  his 
father  in  his  business  atJair.").  He  lost  a  good  deal 
of  money,  acconiing  to  Ridolfi,  in  alchen)y  ;  and 
died  of  the  plague  about  the  time  of  his  father's 
death.  Jl.J. 

VECELLIO,  Tiziano,  called  Tizianello,  a  son  of 
Marco  Vecellio,  who,  early  in  the  17th  century,  ac- 
quired some  reputation  at  Venice.  The  principles 
established  by  the  great  founders  of  the  Venetian 
school  had,  however,  in  his  time  given  way  to 
manner.  His  best  productions  are  his  portraits, 
which  have  vitality  and  natural  colour. 

VECQ,  J.  le.     See  Levecq. 

VEELWAAKU,  Daniel,  an  engraver,  wag  bom 
at  Amsterdam  in  176(i.  He  learnt  drawing  under 
P.  Louw  and  J.  C.  Schultsz,  but  in  engraving  and 
etching  he  was  self-taught.  In  1828  he  engraved 
seventy  large  plates  for  the  '  Museum  Anatomi- 
cum,'  after  designs  by  G.  Sandifort.  His  sons — 
Harmanus,  Abraham,  and  Daniel — were  also 
engravers. 

VEEN,  Geertruida  van,  (or  G.  VcENins,)  was 
the  daughter  of  Otto  van  Veen,  and  was  bom  at 
Brussels  in  1602.  She  was  instructed  in  art  by 
her  father,  and  excelled  in  portraits.  A  portrait  of 
Otto  van  Veen,  by  her,  was  engraved  by  Rucholle. 

VEEN,GiJSBERT,  or  Gilbert,  Van,  (Vcenius,)  por- 
trait painter  and  engraver,  was  the  younger  hruther 
of  Otto  van  Veen,  and  was  bom  at  Leyden  in 
1558,  or,  according  to  Huber,  in  1566.  He  executed 
a  variety  of  plates,  with  the  graver,  in  a  style 
resembling  that  of  Cornelis  Cort.  He  visited  Italy 
in  1588,  making  some  stay  at  Rome  and  Venice, 
and  has  left  several  prints  after  the  Italian  masters. 
He  also  engraved  many  plates  from  designs  by 
his  brother,  chiefly  emblematical  subjects  and 
portraits.  He  died  at  Antwerp  in  1628.  The 
following  are  among  his  best  prints  : 

Ernest,  Duke  of  Bavaria. 

Cardinal  Alessaridro  Farnese  ;  after  Otto  van  Veen. 

Giovanni  da  Bologna.     1589. 

271 


A  BIOGRAPHICAL  DICTIONARY  OF 


The   Four   Seasons;    after   Raffaello   dal   Colle.     1589. 

These    have    been    incorrectly   stated   to   be    after 

Raphael  Sanzio. 
The  Espousal  of  Isaac  and  Eebekah  ;  after  B.  Peruzzi  ; 

in  five  sheets,  in  the  form  of  a  frieze ;  fine  and  scarce. 
The  Visitation  of  the  Virgin  to  S.  Elisabeth  ;  after  F. 

Barocci. 
The  Crucifixion  ;  after  the  same. 
The  Emblems  of  Horace  ;  after  Otto  van  Veen. 
Emblems  of  divine  and  profane  Love  ;  after  the  same- 
The  Life  of  S.  Thomas  Aquinas ;  a  set  of  several  plates ; 

after  the  same. 

VEEN,  Maerten  van,  called  Martin  Heemskerk, 
(or  Hemskerk.)  was  the  eon  of  Jakob  Willem  van 
Veen,  a  small  farmer,  and  was  born  at  Heemskerk, 
a  village  near  Haarlem,  in  1498.  His  fatlier, 
yielding  to  his  desire  of  becoming  a  painter,  placed 
him  under  the  care  of  Cornelis  Willemsz,  of  Haar- 
lem, but  repenting  of  liis  indulgence,  cut  short  the 
boy's  apprenticeship,  and  took  him  back  to  work 
on  the  farm.  Maerten,  however,  ran  away,  and 
took  refuge  at  Delft  in  the  studio  of  Jan  Lucas, 
with  whom  and  some  other  obscure  artists,  he 
studied  some  time.  The  reputation  of  Schoorel 
was  great  at  the  time,  and  Heemskerk  went  to 
Haarlem  and  entered  the  school  of  that  master.  His 
progress  was  such  as  to  excite  the  jealousy  of  his 
instructor,  who  dismissed  him  from  his  academy. 
One  of  his  first  public  works  was  a  picture  of  '  S. 
Luke  painting  the  Virgin,'  for  the  chapel  of  the 
painters  at  Haarlem,  so  entirely  in  the  manner  of 
Schoorel  that  it  was  generally  supposed  to  be  by 
him.  At  about  the  age  of  thirty-five  Maerten 
went  to  Italy,  and  passed  three  years  at  Rome, 
where  the  antique  and  the  works  of  Michelangelo 
were  the  particular  objects  of  his  study.  On  liis 
return  to  Holland  he  settled  at  Haarlem,  where 
he  painted  several  pictures  for  public  buildings, 
notably  a  '  Crucifixion,'  for  S.  Laurentius,  at 
Alkmaar,  with  doors  on  which  were  depicted  other 
scenes  from  the  Passion  (1538-41).  In  1572, 
Maerten  fled  from  Haarlem  in  fear  of  the  threat- 
ened siege,  and  took  refuge  at  Amsterdam  with 
his  pupil,  Jakob  Rauwerts.  Two  years  later  he 
returned  to  Haarlem,  and  died  there,  October  1, 
1574.  His  compositions,  though  rich,  are  without 
judgment  or  taste ;  and  in  attempting  to  imitate 
the  great  style  of  Buonarroti,  his  design  is 
frequently  overcharged  and  preposterous.  His 
draperies  are  clumsy,  with  a  confusion  of  folds, 
and  the  expression  of  his  heads  is  marked  with 
neither  grace  nor  beauty.     Works  : 

Amsterdam.  S.  Museum.    The  Eesurrection. 
{And  two  others.) 
Berlin.  Jfuseum.    Momus  ridiculing  the  Works  of 

the  Gods.     1561. 
Brussels.  „  Triptych. 

Ghent.  „         Christ  crowned    with    Thorns. 

1532. 
Haarlem.  Gallery.     S.  Luke  painting  the  Virgin. 

„  „  The  Nativity. 

„  „  The  Holy  Family, 

,)  „  Belshazzar's  Feast. 

»  „  Christ  in  the  Praetorium. 

„  „  Erce  Homo. 

It  „  The  Brazen  Serpent. 

Hague.  Museum.    Adoration  of  the  Shepherds. 

„  „  Adoration  of  the  Kings.     1546. 

New  York.  „  Portrait  of  his  Father.     1532. 

Vienna.  Gallery.     Bacchanalian  subject  ;   after  a 

design  by  G.  Romano. 
»»  „  John  the  Baptist  preaching. 

He  also  painted  upon  glass  in  grisaille,  and  has 
left  several  historical  engravings,  which  are  more 
esteemed  for  their  scarcity  than  their  merit.     He 
272 


usually    marked   them   with   the   cipher     ij^iji , 

Among  them  are  : 
The  History  of  Tobias.    I    The  Prodigal  Son. 
The  Annunciation.  |    Judah  and  Thamar. 

The  Adulteress  before  Chri.st. 
The  Wise  and  the  Foolish  Virgins. 
Industry  and  Commerce. 

VEEN,  Otto  van,  (or  Venius,  Otho,)  was 
born  at  Leyden  in  1558,  of  a  good  Dutch  family. 
He  was  carefully  educated  by  his  parents,  who 
did  not  opjiose  the  inclination  he  discovered  for 
painting.  His  father  Cornells  was  burgomaster  of 
Leyden,  and  when,  in  1572,  the  town  declared 
against  Philip  II.,  he  declined  to  join  the  insur- 
gents. His  property  was  confiscated,  and  he  retired 
with  his  family  to  Liege.  Otto  bad  already  received 
some  lessons  from  Isaac  van  Swanenburch,  called 
Nicolai,  and  at  Liege  his  talents  recommended  him 
to  the  notice  of  Cardinal  Grosbeeck,  at  that  time 
Prince  Bishop,  who  sent  him  to  Rome  furnished  with 
letters  to  Cardinal  Madruccio.  He  was  kindly  re- 
ceived by  Madruccio,  and  granted  apartments  in 
his  palace.  Ue  entered  the  studio  of  Federigo 
Zuocaro,  and  soon  learnt  all  that  master  could  teach 
him.  After  seven  years  in  Italy,  he  returned  to 
Liege,  where  he  became  page  to  Ernest  of  Bavaria, 
the  successor  of  Grosbeeck.  His  new  protector 
despatched  him  on  a  mission  to  Rodolph  II.,  at 
Vienna,  in  whose  service  Otto  remained  for  a  time. 
He  then  returned  homewards  by  way  of  Munich 
and  Cologne,  where  he  painted  some  pictures  for 
the  ruling  princes.  In  1584  he  revisited  Leyden, 
and  in  1585  we  find  him  at  the  Court  of  Alessandro 
Farnese,  Prince  of  Parma,  who  was  at  that  time  the 
governor  of  the  Netherlands.  In  1593  he  was 
settled  at  Antwerp,  and  was  made  free  of  the 
Guild  of  S.  Luke  in  the  following  year.  At  about 
this  time  his  marriage  with  Anne  Loots,  the 
daughter  of  a  noble  Flemish  house,  probably 
occurred.  At  Antwerp  he  painted  for  the  churches 
and  public  buildings,  and  had  Rubens  for  his  pupil. 
When  the  Archdidte  Albert,  who  succeeded  the 
Prince  of  Parma  in  the  government  of  the  Low 
Countries,  made  his  public  entry  into  Antwerp,  he 
designed  the  triumphal  arches,  and  his  compositions 
were  so  much  admired  that  the  Archduke  invited 
him  to  Brussels,  appointing  him  his  principal 
painter  and  Master  of  the  Mint.  Van  Veen  dis- 
tinguished himself  in  literature,  and  published 
several  works,  illustrated  by  plates  from  his  own 
designs,  engraved  chiefly  by  his  brother  Gysbert. 
Among  them  were :  '  A  History  of  the  War  of  the 
Batavians  against  Claudius  Civilis  and  Cerialis,' 
from  Tacitus  ;  '  Horace's  Emblems,  with  Observa- 
tions ; '  '  Life  of  Thomas  Aquinas,'  and  '  Emblems 
of  Love,  Divine  and  Profane.'  He  died  at  Brussels, 
May  6,  1629.     His  pictures  in  public  galleries  are  : 

Amsterdam,  if.  Museum.    Twelve  scenes  illustrating  the 
rising      of      the     Batavians 
agaiust  the  Romans. 
Antwerp.  Museum.    The  Calling  of  Levi. 

„  „  Two  scenes  from  the  Legend  of 

S.  Nicholas. 

„  „         ZacchKus  in  the  Fig-tree. 

„  Cathedral.     Last  Supper. 

Berlin.  Museum.    Parnassus. 

Bruges.  Cathedral.    Adoration  of  the  Magi. 

Brussels.  Museum.     Triptych  (The  Crucifixion), 

„  „  Christ  bearing  the  Cross. 

„  „  Marriage  of  S.  Catharine. 

Ghent.  S.  Bavon,    Raising  of  Lazarus. 

Madrid.  Museum.     Two  Portraits. 

Paris.  Louvre.    The  Painter  and  his  Family. 


PAINTERS  AND  ENGRAVERS. 


Vienna.  Gallery.    Holy  Family. 

n  It  Portrait  of  the  Archduke  Er- 

nest, son  of  Maximilian  II. 
»  -    „  Portrait  of  the  Archduke  Al- 

bert, Governor  of  the  Nether- 
lands. 

VEEN,  PiETER  VAN,  brother  of  Otto  van  Veen, 
painted  for  amusement  only,  but  has  left  a  '  Relief 
of  Leyden  in  1574,'  of  nome  merit.  It  is  now  in 
the  Leyden  Museum. 

VEEN,  RocHUS  VAN,  perhaps  a  nephew  of  Otto 
van  Veen,  flourished  at  Haarlem  about  the  middle 
of  the  17th  century,  and  excelled  in  painting  birds, 
living  and  dead,  which  he  finished  with  great  care. 
He  died  at  Haarlem  in  1706. 

VEENHUIJSEN,    J.,    a   Dutch    engraver,  who 
flourished  at  Amsterdam  about  1656  to  1677.     He 
engraved  a  set  of  views  of  the  public  buildings  in 
that  city.     He  also  drew  portraits. 
VEERENDAEL.     See  Verendael. 
VEGA,  Gonzales  de.    See  Gonzales. 
VEGLIA,    Marco    and    Piero,   two    Venetian 
painters,  who  flourished  at  the  beginning  of  the 
16tli  century. 

VEILLON,  AUGDSTE,  Swiss  painter ;  born 
December  29,  1834,  at  Bex  (Canton  Waadt)  ;  be- 
came a  pupil  of  Diday,  and  also  studied  in  Paris 
and  Rome.  He  travelled  in  Holland,  Switzerland 
and  Egypt,  and  for  two  years  resided  in  Venice. 
His  '  Soir  h,  Veniee '  is  in  the  Bale  Museum,  and 
other  works  by  him  are  in  the  Museums  of  Berne 
and  Zflrich,  such  as  'Kalifengraber'  and  'Friihlings- 
morgen  am  Brienzersee.'  He  lived  and  worked  at 
Geneva,  and  here  he  died,  June  5,  1890. 

VEIT,  Johannes,  painter,  and  elder  brother  of 
Philipp  Veit,  was  born  towards  the  close  of  the 
18th  century,  at  Berlin.  He  studied  at  Vienna, 
and  from  1811  onwards,  at  Rome.  His  works  are 
akin  to  those  of  his  brother  and  of  Overbeck,  and 
his  '  Madonnas  '  are  much  admired.  An  '  Adoration 
of  the  Shepherds  '  by  him  is  in  the  Berlin  cathedral, 
and  an  altar-piece  at  Liege.  He  also  produced 
some  excellent  portraits.  He  died  at  Rome  in  1852. 
VEIT,  Philipp,  painter,  was  born  at  Beriin,  of 
Je%yish  parents,  in  1793.  His  father  died  while 
Veit  was  still  a  child,  and  his  mother,  a  daughter 
of  Mendelssohn,  the  philosopher,  married  Friedrich 
von  Schlegel.  The  boy  was  baptized,  and  brought 
up  under  the  guidance  of  his  stepfather.  He  made 
his  first  studies  in  Dresden  under  Matthai,  and  then 
worked  for  a  time  at  Vienna.  lu  1813  he  entered 
the  army  and  served  during  the  Napoleonic  wars. 
In  1816  he  went  to  Rome,  where  he  joined  the 
neo-German  religious  school,  and  remained  till 
1830.  Working  together  with  Cornelius,  Overbeck, 
and  Von  Sohadow,  he  painted  many  important 
frescoes,  among  them  'The  Seven  Fat  Years'  in 
the  Casa  Bartholdi,  '  The  Triumph  of  Religion  '  in 
the  gallery  of  the  Vatican  ;  subjects  from  Dante's 
'Paradise'  in  the  Villa  Massimi,  and,  in  conjunction 
with  Koch,  a  '  Mary  in  Glory  '  for  Santa  Triniti  de' 
Monti.  In  1830  he  was  elected  Director  of  the 
Staedel  Institute  in  Frankfort-on-the-Maine.  He 
painted  in  this  town  '  St.  George '  for  the  church  at 
Bensheini,  '  The  Marys  at  the  Sepulchre  '  (now  in 
the  Beriin  Narional  Gallery) ;  and  the  following 
frescoes,  'The  Triumph  of  Christianity,'  'The  In- 
troduction of  Art  into  Germany  by  Christianity,' 
'Italia,'  and  'Germania';  these  four  were  for  the 
Institute.  In  1843  he  retired  to  Sachsenhausen. 
Ill  1846  he  there  painted  an  '  Assumption  of  the 
Virgin  '  for  Frankfort  cathedral,  and  several  pic- 
VOL.  V.  T 


tures  for  King  Frederick  William  IV.  In  1853 
he  settled  at  Mayence,  and  there  designed  the  cycle 
of  frescoes  for  the  cathedral,  which  were  carried 
out  by  his  pupils  and  completed  in  1868.  Veit 
died  at  Mayence  in  December,  1877. 

VEITH,  JoHANN  Martin,  was.  born  at  Schaff- 
hausen  in  1650.  He  studied  in  Italy,  where  he 
spent  ten  years,  and  from  Venice  accompanied 
Prince  Radziwil  to  Warsaw.  On  his  return  he 
made  a  certain  reputation  as  a  painter  of  portraits 
and  historical  pieces.     He  died  in  1717. 

VEITH,  Johann  Philipp,  draughtsman,  painter, 
and  engraver,  was  born  at  Dresden  in  1768  or  1769. 
He  studied  at  the  Academy  there,  and  devoted 
himself  at  first  to  landscape  painting,  but  after- 
wards  became  a  pupil  of  the  engraver  Zingg.  In 
his  thirtieth  year  he  visited  Italy,  studying  there 
from  nature.  After  his  return  he  practised  as  an 
engraver  of  landscapes,  and  was  made  first  a 
member  and  afterwards  professor  of  the  Dresden 
Academy.  In  1822  he  published  '  Views  in  the 
Neighbourhoods  of  Dresden  and  Rome,'  '  Two 
Views  of  Terracina,'  and  several  plates  after 
Berchem  and  Ruysdael.  He  died  In  lfi35.  Nagler 
catalogues  206  plates  by  him. 

VELA,  Antonio,  the  Licentiate,  son  of  Cristobal 
Vela,  was  born  at  Cordova  in  1634.  He  was  a 
priest  renowned  for  his  virtue,  and  a  painter  of 
considerable  skill.  He  painted  two  excellent  pic- 
tures on  subjects  from  the  life  of  S.  Augustine  for 
the  convent  of  that  saint  at  Cordova,  and  gilded 
and  painted  several  retablea  for  other  convents. 
He  died  at  Cordova  in  1676. 

VELA,  Cristobal,  a  Spanish  painter,  was  bom 
at  Jaen  in  1598,  and  was  first  a  scholar  of  Pablo  de 
Cespedes,  but  afterwards  studied  under  Vincenzio 
Carducho.  He  chiefly  resided  at  Cordova,  where 
he  painted  historical  pictures,  correct  in  design, 
though  languid  and  weak  in  colour.  In  the  cloister 
of  the  convent  of  San  Agustin,  at  Cordova,  is  a 
series  of  the  Prophets,  designed  in  a  good  style. 
He  was  drowned  in  the  well  of  his  own  house  at 
Cordova,  in  1658. 

VELASCO,    ,    a   Portuguese    painter,    who 

probably  flourished  at  Vizeu  between  1530  and 
1540.  A  picture  of  the  descent  of  the  Holy  Ghost, 
signed  by  him,  is  in  the  church  of  the  Holy  Cross 
at  Coimbra.  Sir  Cliarles  Robinson  considers  him 
as  possibly  identical  with  the  painter  of  several 
large  pictures  in  the  cathedral  of  Vizeu. 

VELASCO,  Antonio  Castro  y.  See  Palomino 
DE  Castro. 

VELASCO,  Cristobal  de,  was  the  son  and  dis- 
ciple of  Luis  de  Velasco.  He  adopted  the  maxims 
and  imitated  the  style  of  his  father,  but  did  not 
arrive  at  equal  excellence.  In  1598  he  painted  the 
portrait  of  the  Archduke  Albert.  He  painted  for 
Pliilip  III.  seven  views  of  cities  in  Flanders,  to 
place  in  his  hunting  lodge  in  the  woods  of  Valsain, 
for  which  he  received  the  sum  of  20,673  reals.  His 
son,  Matias  de  Velasco,  was  also  an  historical 
painter,  and  pupil  of  his  father.  He  accompanied 
the  court  of  Philip  III.  to  Valladolid,  and  painted 
some  scenes  from  the  life  of  the  Virgin  for  the 
royal  nunnery  of  the  Carmelites  of  that  city. 

VELASCO,  Luis  de,  an  historical  painter.  He 
flourished  at  Toledo  in  1564,  and  painted  several 
pictures  for  the  cloister  of  the  cathedral.  In  1581 
he  was  appointed  painter  to  the  chapter,  and  in  the 
same  year  began  his  picture  of  the  '  Incarnation  of 
Christ,'  which  is  over  the  door  of  the  cloister,  and 


which  Antonio   Ponz   has  attributed 


to  Bias  del 
273 


A    BIOGRAPHICAL   DICTIONARY  OF 


Prado  ;  this  and  three  altar-pieces  he  finished  in 
1584-5.  One  of  the  latter  represents  the  Virgin 
holding  the  Infant  in  her  arms,  accompanied  by 
S.  Anthony,  S.  Blaise,  and  a  female  Saint.  Palo- 
mino erroneously  attributed  this  retable  to  Bias 
del  Prado,  as  Ponz  had  that  of  the  Incarnation. 
But  the  archives  of  the  cathedral  show  that  it  was 
executed  by  Luis  de  Velasco  in  1585,  and  that  a 
sum  of  419,788  maravedis  was  paid  to  him  in  that 
year.  A  few  more  of  his  works  are  known.  He 
died  at  Toledo  in  1606. 

VELAZQUEZ,  A.  G.    See  Gonzales  Velazquez. 

VELAZQUEZ,  Diego  R(.iDEiGnEZ  da  Silva  t,  was 
born  at  Seville  on  the  6th  of  June,  1599.  There 
has  been  some  dispute  as  to  the  date,  but  the 
registration  of  his  baptism  on  that  day,  in  the 
parish  of  San  Pedro,  is  still  extant.  His  father  was 
Juan  Rodriguez  da  Silva,  his  mother  Geronima 
Velazquez,  so  that  the  painter  ought  rather  to  have 
been  known  as  Silva,  than  by  the  name  he  has 
rendered  famous.  The  Silvas  were  of  gentle 
Portuguese  origin,  but  had  been  settled  in  the 
capital  of  Andalusia  ever  since  the  beginning  of 
the  16th  century.  The  young  Diego  was  intended 
by  his  parents  for  some  liberal  profession,  was 
taught  Latin,  was  introduced  to  belles  leitres,  and 
even  to  philosophy.  After  a  time,  however,  he 
began  to  show  such  an  unmistakable  bent  towards 
art  that  he  was  placed  as  a  pupil  with  Francisco 
Herrera  the  elder,  whose  brutal  manners  are  said 
to  have  driven  the  boy  away,  after  but  a  short 
probation,  to  the  studio  of  the  milder  Pacheco.  In 
his  'Arte  de  la  Pinturn,'  Pacheco  claims  nearly  all 
the  glory  of  his  pupil's  education.  His  assertions 
must,  however,  be  taken  with  some  reserve,  for 
the  mature  art  of  Velazquez  has  vastly  more  in 
common  with  the  rough  but  painter-Hke  vigour  of 
Herrera,  than  with  the  cold  timidity  of  the  other 
Francisco.  Whether  the  lad  stayed  longer  with 
his  first  master  than  tradition  declares  or  not,  a 
comparison  of  their  work  leaves  no  room  for  doubt 
as  to  the  strong  and  permanent  influenceof  Herrera's 
example.  The  influence  of  a  third  master  has  been 
said  to  count  for  something.  This  was  Luis  Tristan 
da  Toledo,  a  pupil  of  II  Greco.  On  him,  however, 
no  great  stress  need  be  laid.  The  true  masters  of 
Velazquez  were  his  models.  He  worked  directly 
from  nature  with  a  determined  sincerity  which  has 
not  been  surpassed.  Huge  studies  of  still-life,  with 
life-size  figures  introduced,  exist  to  prove  how 
frankly  he  endeavoured  to  realize  the  actual  look 
of  things.  Before  he  was  out  of  his  teens  he 
painted  the  '  Water-Carrier'  of  Apsley  House,  and 
the' Adorationof  theKings'of  the  Madrid  Museum  ; 
and  in  each  of  these  the  power  given  by  such 
studies  is  conspicuous. 

lu  1618,  when  he  was  not  yet  nineteen,  Velazquez 
married  Pacheco's  daughter  Juana.  Thirteen 
months  afterwards  she  bore  him  a  daughter,  Fran- 
cisca  ;  and  two  years  later  still,  a  second  daughter, 
Ignacia,  who  seems  to  have  died  in  infancy.  Fran- 
cisca  lived  to  liecome  the  wife  of  the  painter  Mazo 
Martinez,  and  the  mother  of  many  children.  The 
wedded  life  of  Velazquez  was  one  of  tranquil 
felicity,  and  when  he  died,  forty-two  years  after  his 
marriage,  his  wife  followed  him  in  eight  days  to 
the  grave.  She  seems  to  have  been  something  of 
an  artist  herself,  for  she  holds  a  canvas  in  her  hand 
in  her  portrait  at  Madrid. 

In  April,  1622,  Velazquez  paid  his  first  visit  to 
the  Spanish  capital.  There  he  won  the  friend- 
ship of  Don  Juan  Fonseca,  canon  of  Seville  and 

274 


almoner  to  the  king,  who  presented  him  to  the 
minister,  Olivares.  Of  this  nothing  came  for  the 
moment,  and  the  painter  returned  to  Seville.  In 
the  first  months  of  1623,  however,  he  received  a 
letter,  through  Fonseca,  from  Olivares,  calling  him 
back,  and  enclosing  a  sum  of  fifty  ducats  to  defray 
expenses.  He  at  once  set  out  for  Madrid,  taking 
his  wife  and  his  father-in-law  with  him.  Within 
a  few  days  of  his  arrival  he  began  and  finished  a 
portrait  of  Fonseca,  which  was  carried  to  the  palace 
and  shown  to  the  king.  Philip  IV.  at  once  named 
the  painter  of  his  household,  with  a  salary  of 
twenty  ducats  a  month,  and  commanded  him  to 
begin  a  portrait  of  the  royal  person.  Some  time 
had  to  elapse  before  this  portrait  was  finished,  for 
during  the  summer  of  1623,  the  king  vv'as  greatly 
occupied  with  the  entertainment  of  the  Prince  of 
Wales  and  his  friend  '  Steenie,'  who  were  present 
on  their  famous  tour  in  search  of  a  wife.  Pacheco 
says  that  Velazcjuez  began  a  portrait  of  Charles ; 
it  has  not  been  identified.  In  the  autumn  of  1623 
Philip's  portrait  was  finished,  and  his  delight  in  it 
was  such  that  he  granted  the  painter  a  monopoly 
in  the  royalfeaturee,  and,  it  is  said,  ordered  previous 
portraits  (by  the  Carducci,  Angelo  Nardi,  and 
others)  to  be  removed  from  the  palace. 

In  August,  1628,  Rubens  arrived  at  Madrid,  just 
about  the  time  that  Velazquez  was  finishing  his 
famous  picture  of  the  Bebedores.     According  to 
Pacheco,  the  two  painters  had  already  been  in  corre- 
spondence, but  however  that  may  be,  both  natural 
inclination  and  the  express  commands  of  Olivares 
led  the  Spaniard  to  pay  solicitous  attention  to  the 
Fleming.     During  nine  months  the  two  men  lived 
in  close  intimacy,  and  the  influence  of  the  elder 
(Rubens  was  now  fifty-one  years  of  age)  must  have 
had  its  effect  upon  his  companion.     In  the  work 
of  Velazquez  no  direct  echo  from  Rubens  can  be 
traced,  but  it  was  by  his  new  friend's  advice  that 
the  Spanish   painter  made  his   first  journey  into 
Italy.     He  set  out  on  the  29th  of  June,  1629,  sail- 
ing   from    Barcelona   in   the   same   ship   as   Don 
Ambrosio  Spinola,  the  victor  of  Breda,  and  taking 
his  faithful  slave  Pareja  with  him.     Olivares  gave 
him  two  hundred  ducats  for  his  journey,  a  gold 
medallion  of  the  king,  and  many  letters  of  recom- 
mendation.     The   first  city   in   which    Velazquez 
made  a  stay  was  Venice.     The  pacific  character 
of  his  visit  had  been  notified  to  the  State  inquisitors 
before  his  arrival,  by  the  Venetian  ambassador  at 
Madrid  ('  Gaz.  des  Beaux  Arts,'  vol.  i.  p.  79).    Here 
he   copied    Tintoretto's    '  Crucifixion '   and    '  Last 
Supper.'     From  Venice  he  went  to  Rome,  by  way 
of  Ferrara,  Bologna,  and   Loretto.     At  Rome  he 
remained   for  a  whole   year.     Thanks  to  the  in- 
fluence of  the  Count  Monterey,  at  that  time  Philip's 
ambassador  to   the   Vatican,  he  was   assigned  a 
lodging  in  the  Villa  Medicis.     Thence,  after  a  stay 
of  two  months,  he  was  driven  by  fever  to  take 
refuge  in  the  Spanish  Embassy.      His  time  was 
spent  in  making  studies  from  the  Italian  masters, 
in   painting  such   sketches   as   the  two  from  the 
Villa  Medicis  now  in  the  Madrid  Gallery,  and  in 
completing   the   '  Forge   of  Vulcan,'  now  in  the 
Museo  del  Prado,  and  the  '  Joseph's  Coat,'  at  the 
Escorial.     Towards   the   end    of   1630   Velazquez 
went  to  Naples,  where  he  was  the  guest  of  the 
Spanish  Viceroy,  the  Duke  of  Alcala,  and  where 
he  struck  up  a  close  friendship  with  Spagnoletto. 
It  was  at  the  instigation  of  Velazquez  that  PhilipIV. 
bought  many  of  those  pictures  by  the  Valencian 
master  which  now  hang  at  Madrid. 


DIEGO  RODRIGUEZ   DA  SILVA  Y  VELAZOUEZ 


Laitroit  photo\ 


^Prado  Oallery,  Madrid 


DON  CARLOS 


PAINTERS  AND  ENGRAVERS. 


Early  in  1631  Velazquez  waa  again  in  the  Spanish 
capital.  Delighted  to  have  his  favourite  back, 
Philip  aaaigned  him  for  a  studio  the  north  gallery 
of  the  Alcazar,  which  communicated  with  the  royal 
apartments  by  a  door  of  which  Philip  kept  the 
key.  The  king  soon  fell  into  the  habit  of  paying 
a  daily  visit  to  the  painter,  with  whose  help  he 
himself  made  some  by  no  means  contemptible 
essays  in  art.  Soon  after  his  return,  Velazquez 
finished  a  portrait  of  Don  Baltasar  Carlos,  at  the 
aige  of  two,  and  provided  a  sketch  of  the  equestrian 
statue  of  Philip  which  was  afterwards  modelled  by 
Pietro  Tacca,  at  Florence,  and  now  stands  before 
the  royal  palace  at  Madrid.  The  sketch  hangs  in 
the  Uffizi.  In  1634,  on  the  occasion  of  his  daughter 
Francisca's  marriage  to  Juan  Bautista  del  Mazo- 
Martinez,  Velazquez  was  permitted  to  hand  down 
his  court  appointment  to  his  son-in-law,  and  was 
himself  named  an  ayuda  da  guarda  ropa,  without 
salary.  Between  tliis  time  and  1648,  the  story  of 
Velazquez  is  contained  in  the  chronological  list  of 
his  pictures.  In  the  last  weeks  of  1637  he  is  said 
to  have  painted  Marie  de  Rohan,  Duchesse  de  Chev- 
reuse,  perhaps  in  the  male  costume  in  which  she 
fled  from  France.  In  1638,  probably,  he  painted 
the  'Crucified  Christ'  (Madrid  Gallery),  as  to 
which  Sir  William  Stirling-Maxwell  was  in  error 
in  supposing  it  to  have  been  carried  off  to  France 
by  Joseph  Bonaparte  or  some  of  liis  generals.  In 
1642  he  painted  the  two  Aranjuez  landscapes, 
now  at  Madrid,  during  the  sojourn  of  the  court 
in  that  retreat.  The  following  year  saw  the 
disgrace  of  Olivares.  He  was  accompanied  into 
obscurity  by  the  best  wishes  of  Velazquez,  who  so 
far  disregarded  the  etiquette  of  the  court  to  which 
he  belonged,  as  to  visit  the  fallen  minister  in  his 
exile.  The  great  equestrian  portrait  of  Philip  in 
the  Museo  del  Prado  was  the  fruit  of  1644.  To 
these  years,  too,  belong  the  portraits  of  dwarfs, 
fools,  and  other  eccentric  members  of  Philip's 
household,  which  hang  in  the  same  gallery.     In 

1646  died  the  infante,  Don  Baltasar  Carlos,  and  in 

1647  Velazquez  painted  the  '  Surrender  of  Breda,' 
the  famous  '  Las  Lanzas,'  perhaps  the  finest  purely 
historic  picture  in  the  world. 

In  January,  1649,  Velazquez  embarked  at 
Malaga  on  his  second  visit  to  Italy.  lie  was 
accompanied  as  before  by  Pareja,  and  he  travelled 
in  the  suite  of  the  Duke  of  Najera,  who  was  on 
his  way  to  receive  Philip's  fiancee,  the  Grand 
Duchess  Mariana  of  Austria.  The  main  object  of 
this  second  journey  was  to  collect  pictures  and 
casts  from  the  antique  for  the  Alcazar  and  for  the 
proposed  Academy  of  Fine  Art,  which  was  only 
to  be  established  a  century  later  by  Ferdinand  VI. 
The  painter  landed  at  Genoa,  visited  successively 
Milan,  Padua,  Venice  (where  he  bought  a  Veronese 
and  three  Tintorettos),  Bologna  (where  he  engaged 
the  decorative  painters  Colonna  and  Mitelli  to  go 
to  Spain),  Modena,  Parma,  Florence,  and  Rome. 
From  Home  he  passed  on  almost  immediately  to 
Naples,  where  he  presented  himself  to  the  Viceroy 
(the  Conde  d'Onata,  who  had  just  suppressed  the 
rising  of  Masaniello),  and  renewed  his  friendship 
with  Ribera.  After  this  he  returned  to  Rome,  and 
stayed  there  for  more  than  a  year.  Innocent  X., 
Giovanni  Battista  Paraphili  by  birth,  was  the 
reigning  pontiff,  and  his  portrait,  now  in  the  Doria 
Pamphili  palace,  is  one  of  the  finest  works  of 
Velazquez.  Among  other  portraits  painted  during 
his  stay  were  those  of  Donna  Olympia  Maldachini, 
of  Flaminia  Triunfi,  of  Girolamo  Bibaldo,  and  of 

T  2 


various  chamberlains  and  other  servarits  of  the 
pope.  All  these,  says  Palomino,  were  painted  with 
those  long-handed  tools  which  have  since  been 
known  as  Velazquez  brushes.  In  the  early  months 
of  1651  the  painter  still  lingered  in  Italy,  but  a 
letter  from  his  friend  Fernando  Ruiz  de  Contreras, 
hinting  at  Philip's  impatience  for  his  return,  led 
him  to  make  preparations  for  his  journey  home- 
wards. He  sent  his  collections  off  to  the  care  of 
the  Spanish  Viceroy  at  Naples,  and  embarked  at 
Genoa  for  Barcelona,  where  he  landed  in  June, 
1651. 

On  the  16th  of  February,  1652,  Velazquez  was 
named  Aposentador  Mayor,  or  grand  marshal,  of 
the  palace  to  Philip.  During  the  eight  years  of 
life  which  remained  to  him,  the  duties  of  this  office 
must  have  demanded  a  large  part  of  his  time,  and 
this  may,  in  some  degree,  account  for  his  adoption 
of  that  "broader  and  more  summary  manner  which 
marks  his  final  period.  The  chief  works  which 
belong  to  this  time  are,  '  Las  Hilanderas,'  or  the 
'Tapestry  Weavers,'  'Las  Meninas,'  or  the  'Maids 
of  Honour,'  the  so-called  'Portrait  of  Alonso  Cano,' 
the  '^I'^sop'  and  'Menippiis,'  and  the  later  luirtraits 
of  Philip  and  his  family.  The  '  Jleninas '  was 
painted  in  1656,  and  it  was  not  until  1659  that 
Velazquez  was  received  into  the  order  of  Santiago. 
The  story  which  ascribes  the  red  cross  on  the 
painter's  breast  to  Philip  himself,  ought  rightly  to 
be  told  in  connection  with  the  certainly  authentic 
sketch  at  Kingston  Lacy  (see  following  catalogue). 
In  that  sketch  the  red  cross  is  roughly  indicated 
by  a  hand  which  is  not  that  of  Velazquez,  although 
the  paint  is  coeval  with  that  on  which  it  is  placed. 
In  spite  of  the  interval  between  the  painting  of 
'Las  Meniiias'  and  the  painter's  formal  reception 
into  the  order,  the  old  tradition  has  every  proba- 
bility. We  have  only  to  suppose  the  graceful 
act  was  done  some  time  after  the  completion  of 
the  picture,  and  that  the  deliberate  Spaniards 
took  their  time  over  that  verification  of  the  artist's 
nohleaae  which  was  necessary  before  he  could  be 
finally  received  into  the  knightly  brotherhood. 
Hie  reception  took  place  on  the  28th  of  November, 
1659. 

Shortly  before  this  the  Mar^chal-duc  de  Gramont, 
who  came  to  demand  the  hand  of  the  Infanta 
Maria  Teresa  for  Louis  XIV.,  had  made  his  entry 
into  Madrid.  The  painter  had  been  directed  to 
attend  upon  him,  and  five  months  later  it  became 
his  duty,  as  Aposentador,  to  carry  out  the  Spanish 
share  of  the  |ireparations  on  the  Island  of  Pheasants, 
in  the  Bidaasoa,  where  the  marriage  by  proxy  was 
to  take  place.  Setting  out  from  Madrid  eight  days 
before  the  king,  in  company  with  two  assistants, 
his  son-in-law  Mazo  and  one  Jo8(5  da  Villareal,  he 
prepared  lodgings  for  the  court  along  the  whole 
route  to  the  Castle  of  Fontarabia,  and  completed 
the  pavilion  on  the  island.  During  the  ceremonies 
connected  with  the  marriage  he  acquitted  himself 
admirably,  but  the  fatigue  of  it  all  was  too  much 
for  his  strength.  He  returned  ill  to  Madrid,  and 
after  a  few  partial  recoveries,  he  finally  sank  and 
died  on  the  6th  of  August,  1660,  in  the  sixty-first 
year  of  his  age.  He  left  all  he  possessed  to  his 
wife,  Juana  Pacheco,  but  she  followed  him  to  the 
grave  on  the  14th  of  the  same  month.  After 
his  death,  the  painter's  affairs  were  found,  or  at 
least  declared,  to  be  in  disorder.  The  Spanish 
treasury  claimed  a  sum  of  about  one  and  a  quarter 
million  maravedis  from  his  estate,  and  laid  an 
embargo  upon  his  effects.     Six  years  later  this  was. 

275 


A  BIOGRAPHICAL  DICTIONARY  OF 


taken  off  on  the  payment,  by  his  son-in-law  Mazo, 
of  half  tliat  sum,  the  remaining  half  being  remitted 
as  due  by  the  treasury  for  arrears  of  pay  to  the 
king's  Aposentador.  As  a  man  Velazquez  seems 
to  have  been  all  that  was  attractive  and  admirable. 
As  a  painter  he  more  thoroughly  foreshadowed  the 
art  of  our  own  time  than  any  other  '  old  master,' 
and  so  his  pictures  are  held  in  higher  esteem  in 
modem  schools  of  art  than  those  of  any  one  else. 

The  chief  pupils  of  Velazquez  were  Murillo, 
Carreno  de  Miranda,  Juan  de  Pareja,  Juan  Bautista 
Mazo-Martinez,  Juan  de  Alfaro  y  Gomez,  Juan 
de  la  Curte,  Francisco  Palacios,  Nicolas  de  Villacis, 
Francisco  de  Burgos,  Tomas  de  Aguiar,  and  Antonio 
Puga,  by  one  or  the  otlier  oi  whom  many  pictures 
ascribed  to  the  master  were  painted. 

The  following  list  includes  all  the  more  important 
works  of  Velazquez,  and  probably  many  studio 
works  also.  W.  ^ 


Madrid, 


276 


SPAIN. 

Gallery.    The  Coronation  of  the  Virgin. 

„  '       The  Adoration  of  the  Kings. 

„  Christ  Crucified. 

„  S.     Anthony     Abbot     and     S. 

Paul  the  Hermit. 

„  Los  Bebedores  (The  Drinkers). 
^sop. 

„  Menippus. 

„  Mars. 

„  Mercury  and  Argus. 

,,  The  Forge  of  Vulcau. 

„  Las      Lanzas     {Surrender      of 

Breda). 

„  Las    Meninas   (The    Maids  of 

Honour). 

„  Las  Hilanderas  (The  Spinners, 

or  '  Tapestry  Weavers '). 

„  Portrait  of  Philip  IIL 

„  Seven  portraits  of  Pliilip  IV. 

„  Four  portraits  of  Don  Baltasar 

Carlos. 

„  Portrait  of  Don  Fernando. 

„  „        „   'AlousoCano' (pro- 

bably Martioez- 
Moutanes). 

„  „         „   Luis  de  Gongora  y 

Argote. 

„  „         „   AIouso  Martinez  de 

Espiuar. 

„  „         „  II  Conde-duca  Oli- 

vares. 

„  „         „   Don  Antonio  Alon- 

so  Pimentel. 

„  Two    anonymous    male      por- 

traits. 

„  Portrait  of  Margaret  of  Austria, 

Q.  of  Philip  III. 

„  Portrait  of  Elizabeth  de  Bour- 

bon, Q.  of  I'bilip  IV. 

„  Three    portraits     of     Mariana 

of  Austria,  second  Q.  of 
Philip  rV. 

„  Portrait  of  Maria,  Q.  of  Hun- 

gary. 

„  Portrait  of  Infanta  Maria  Te- 

resa, daughter  of  Pbilip  IV. 

„  Portrait  of  Juaua  Pacheco,  wife 

of  Velazquez. 

„  Two    portraits     of     Francisca, 

daughter  of  Velazqiiez. 

„  Portrait  of  an  old  Lady. 

„  '  El  Bobo  de  Coria.' 

„  '  El  Nino  de  Vallecas.' 

„  Portrait   of   Seb.  de   Morra,  a 

dwarf. 

„  Portrait  of  El  Primo,  do. 

„  „         „  'Don     Aritonio     el 

Ingles,'  do. 

„  '  Barberousse,'   fool    to    Philip 

IV. 


Madrid. 


Seville. 


Duca  de  Villa- 
hermosa. 


Duca  de  Feman  1 
Nunes.         J 
Duca  de  Alba, 

Due  de  Mont-  \ 
pensier.      J 


Gallerti.  '  Pablillos  de  Valladolid,'  do. 
„  '  Don  Juan  de  Austria,'  do. 

Ten  landscapes. 

I  Portrait  of  Philip  IV. 

„  „  the  "Wife  of  Don 
Christoval  del 
Corral. 

„        „  the  Son,  do. 

„  „  D  Conde-duca  Oli- 
vare. 

„  Don  Baltasar  Carlos. 

„  Infanta     Margarita 
Maria. 

„  Philip  rV. 

„  II    Conde-duca  Oli- 
vares. 
„  „         „  a  young  Man. 

Museum.     Two  peasants,  Man  and  Woman. 

ENGLAND. 

C    liil     (  ^^^^^  saved  from  the  Nile. 
„  The  Prince  of  Parma  with  his 

dwarf. 
„  Portrait  of  Juan  de  Pareja. 

„  „        „  Queen    Mariana  of 

Austria. 
Dogs  quarrelling. 
Portrait  of  Philip  I"V. 

„        „  Queen  Elisabeth  de 
.  Bourbon. 

Kingston    W.  i?,  Banks'  \  g^^^^j^  j^^  .  ^as  MeniSas.' 


Valladolid. 


Castle  Howard. 


Hampton  Court. 


Lacy. 


Trustees. 


'S.i 


London.     Nat.  Gallery. 


Dulwich  Gall 
Stajord  House. 


Dorchester  House. 


,  Wallace  Collection. 


Ajisley  House. 


,yEarl  of  Northhrook. 
„     Bridgeicater  Ho. 


Marquis  of} 
II.  j 


Northampton. 


Portrait  of  Philip  IV. 

„         „  Cardinal  Caspar  de 

Borgia. 
„         „  an  Ecclesiastic. 
Christ  at  the  Column. 
Orlando  dead  (?). 
Christ  in  the  house  of  Martha 

and  Mary. 
A  Betrothal  (?). 
Portrait    of    Phihp    PV.    {full 

length). 
Portrait  of  Philip  IV.  (hust). 
Philip  IV.    hunting  the   Wild 

Boar. 
Portrait  of  Ihilip  IV. 
S.   Carlo   Borromeo    (comp.   of 

eight  figures). 
S.  Francesco  Borgia  (do). 
Landscape  with  Figures. 
Portrait  of  Philip  IV. 

,,         „  II   Conde-duca  Oli- 
vares. 
Portrait  of  Philip  IV. 
Three  portraits  of  Don  Baltasar 

Carlos. 
Portrait  of  Olivares. 

„         ,,  a  Princess  (?). 
„         „  a  Lady. 
„         „  a  young  Girl. 
A  Boar  Himt. 
Portrait  of  a  Cardinal. 

„         „  Pope   Innocent    X. 

(hist). 
„         „  Francisco    de   Que- 

vedo. 
„  „  a  Man. 

Two  young  Boys. 
The  Water-Carrier  of  Seville. 
Landscape  with  Market. 
Portrait  of  Phihp  IV. 

„  „  a    natural    Son    of 

Olivares. 
„  „  Velazquez. 

„         „  .Julian  Valcarcel. 

„  Phihp  rV. 

Dwarf  with  Dog  and  Parrot. 
A  Boar  Hunt. 
Landscape  with  Figures, 


PAINTERS  AND   ENGRAVERS. 


London.  Grosvenor  \ 

House. } 

„     Buckingham  Pal. 
„  Marguis  of\ 

„  Laiisdoicne.  j 


„    Jfarquis  of  Bute. 
„        Duke  of  Devon- ) 
shire.  J 

»»  »» 

„         Earl  Stanhope. 
,,  Earl  of  Clarendon. 


Mrs.  Ford. 


Sir  F.  Cook,  Bart.  \ 
ond).  J 


{Richmond 


Portrait  of  Don  Baltasar  Carlos. 

Bust  portrait  of  a  young  Man. 
Portrait  of  Don  Baltasar  Carlos. 

„         „  Don  Felipe  Prosper. 

„         „  Olivares. 

„         „  Innocent  X. 

„  „  Velazquez. 

Two  Landscapes  with  Figures. 
Innocent  X.  (full  length). 

Innocent  X.  {full  length). 

Portrait  of  a  Woman, 

,,  „  a  Gentleman. 

Philip  IV.   hunting   the  Wild 

Boar. 
The  Alameda,  Seville. 
Portrait  of  Olivares. 

„         „  Q.      Elisabeth     de 

Bourbon. 
„         „  Q.        Mariana       of 
Austria. 

Deliverance  of  S.  Peter. 

Q.    Mariana    of 


Longford 
Castle. 

Petworth. 

Rokeby 
Park. 

Woburn 
Abbey. 


Earl  of) 
Radnor.  J 

Lord  ) 

Leconjield.  j 

R.  Morrit,  ) 

Esq.  3 

Duke  of  \ 

ford,  i 


Bedfo. 


Earl  of  Breadalbane 
L.  jirundel  of  Wardour. 
Edward  Uuth,  Esq. 


Portrait    of 

Austria. 
Two  Peasants, 
Portrait  of  Don  Adrian  Pulido 

Pareja. 
Portrait  of  Juau  de  Pareja. 

Male  Portrait. 

Venus  and  Cupid. 

Portrait  of  Don  Adrian  Pulido 

Pareja. 
Christ  at  Emmaus. 
Male  Portrait. 
Portrait  of  Philip  IV. 
„         „  Olivares. 
„         „  Q.      Elisabeth     da 
Bourbon. 


Broom  Hall, 
Fife. 


l^t^J^-'rt-tofOUv 


Dog  with  a  Bone. 
Portrait  of  Innocent  X. 


Cawdor  House,  Lanark. 

Gosford  Hall.       Earl  of)  jj^,^  F^rtT^it, 

n  emyss.  y 
Keir,  Perthshire.  A  Spanish  Lady. 

„  Small  portrait  of  Velazquez  (?), 

„  Fish  and  Fruits. 

„  Two  Landscapes  with  Figures. 

Kinnaird  Earl  oft  r\  e -n  *« 

Castle,  SouthesL  j  ^"^^^^P  *^^  Peasants. 

Eossie  Priory.  ^^^Lord  |  p^^^^^j^  ^^  ^  Gentleman 

FRANCE. 

Portrait   of   the  Infanta  Mar- 
garita Maria, 

Portrait  of  Philip  IV. 

Meeting  of  Gentlemen. 

Portrait  of  Infanta  Maria  Te- 
resa. 

Portrait  of  a  young  "Woman. 
„        ,,  Don  Luis  de  Haro. 
„         ,,  Infanta    Maria  Te- 
resa. 

Buffoon    playing    with    a    toy 
Mill. 

Young  Man  laughing. 

ITALY. 


Berlin. 


„  Raczynski  Col. 

Dresden.  Gallery. 

Frankfort.    Staedel  Inst. 


Munich. 


Vienna. 


Paris. 


Louvre. 


„  Baron  de  Rothschild. 
„      Eudoxie-Marcille  ] 
Coll.  J 

„      Cottier  Collection. 

„      Zefort  Collection. 


Florence. 

Fitti  Pal. 

Portrait  of  Philip  IV. 

Two  Male  Portraits. 

)f 

Uffizi. 

Portrait  of  Philip  IV. 

n 

Two  portraits  of  Velazquez 

Modena. 

Pal.  Ducale. 

Portrait  of  Velazquez. 

Eome. 

Pal.  Doria. 

Portrait  of  Innocent  X. 

n 

Capitol. 

„        „    Velazquez. 

JIuseum.    Portrait     of    AJessandro     del 
Borro. 
„  Male  Portrait. 

Portrait  of  the  Infanta  Maria 
A  Dog. 

Portrait  of  Olivares. 
Two  Male  Portraits. 
Cardinal  Gaspar  de  Borgia. 
„  Portrait  of  Infanta  Margarita 

Maria. 
Gallery.     Cardinal  Rospigliosi. 

AUSTRIA. 

Gallery.     Two  Portraits  of  Philip  IV. 

M  „  Portrait  of  Don  Baltasar  Carlos. 

II  I,  „         „   Don  Felipe  Prosper. 

)'  ,)  „         „   Infanta    Maria   Te- 

resa. 

«  ),  „         „   Infanta    Margarita 

Maria. 

»  »  Young    Man    with   a   Flower, 

laughing. 

»  Academy.    Female  Portrait. 

„  Harrach  Coll.     A  Spanish  Prince. 

RUSSIA. 

Petersburg.     Hermitage.    Two  Portraits  of  Philip  IV. 
n  „  ,,  „  Olivares. 

,i  „  Portrait      of       Innocent       X. 

{sketch). 
A  young  Peasant. 

,'  V  Male  Portrait. 


Leuch- 
temherg  Coll. 


SWEDEN. 

Stockholm.         Museum.    Portrait  of  Philip  IV. 
„  „  „         „   a  young  Man. 


The  Hague.       Museum.    Portrait  of  Don  Baltasar  Carlos. 

t,  „  A  Landscape  with  Figures. 

New  York.  Metropolitan  )  ,,     ..  t>- 


BIBLIOGRAPHY. 

Amador  de  los  Rios, '  Seville  pintoresca,'  &c.   (Seville, 

1844). 
■  El  arte  en  EspaSa '  (Madrid,  1862—1870). 
D.  Jose  Maria  Asensio  y  Toledo, '  Fr.  Pacheco,  bus  obras 

artisticas  y  literarias'  (Seville,  1867). 
Bosartr,  '  Viage  artistico  a  varies  pueblos  de  Espaiia  ' 

(Madrid,  1804). 
Cean    Bermudez,  *  Dicciouario   historico,'  &c.  (Madrid 

1800). 
D.  Pedro  de  Madrazo, '  Catalogo  descriptivo  6  historico 

del  Museo  del  Prado  '  (Madrid,  1872). 
D.  Pedro  de  Madrazo,  '  Viage  artistico   de  tres  siglos 

por  las  coleeciones'  (Barcelona,  1884). 
Francisco  Pacheco, '  El  arte  de  la  piutura,'  &c.  (Seville, 

1649). 
Palomino  de  Castro  y  Velasco,  *  El  museo  pictorico  y 

Escala  optica'  (Madrid,  1715—1724). 
Zarco  del  Valle, '  Documentos  iueditos  para  la  historia 

de  las  bellas  artes  en  E.spafia  '  (Madrid,  1870). 
Ceferiuo   Araujo   Sanchez,   '  Los   Museos   de   Espana ' 

(Madrid,  1875). 
Cruzeda   Villaamil,  '  Eevista  Europea :    Informaciones 

de  las  calidades  de  Diego  de  Silva  Velazquez,  aposen- 

tador  de  palacio  '  (vol.  ii.     Madrid,  1874). 
Viceute  Carducho,  '  Dialogos  de  la  Pintura' (Madrid, 

1633). 
L.  Viardot, '  Les  Mus&s  d'Espagne  '  (Paris,  1860). 
Clement  de  Kis, '  Le  Musee  Royal  de  Madrid  '  (Paris, 

1859). 
Charles  Blanc,   '  Histoire  des  Peintres.     Ecole  Espag- 

nole '  (Paris). 
W.  Burger, '  Tresors  d'art  en  Angleterre  '  (Pari.s,  1865). 
W.  Burger,  'Velazquez  et  ses  ceuvres  '  (Paris,  1865). 

277 


A   BIOGRAPHICAL  DICTIONARY  OF 


Ch  Davillier, '  Memoire  de  Velazquez  sur  41  tableaux  , 

envoyfe  par  Philippe  IV.  a  I'Escurial '  (Pans,  1874). 
Quillet,  '  Dictionnaire  des  Peiutres  Espaguols     (Pans, 

T  Gautier, '  Don  Diego  Velazquez  da  Silva '  ('  L' Artiste ' 
for  March,  1868). 

•  Notice  sur  I'esquisse  de  Velazquez,  premiere  pens6e 
du  c^lebre  tableau,  "La  Keddition  de  Breda,"  qui 
existe  au  Mus^e  de  Madrid  et  qu'on  nomme  ordin- 
airemeut  le  tableau  des  "  Lances  "  '  (Paris  ;  no  date  ; 

?  1865).  „  ,    ,  ,T,    • 

Charles  Gueullette,  '  Les   Peintres  Espagnols     (Pans, 

Paul     Lefort,    'Velazquez'     (one     of    the    '  Arti.stes 

C61ebres  '  series:   Paris,  1888). 
P      de     Madrazo,     'Quelques    Velazquez    au    MusiSe 
de   Madrid '    ('  L'Art '    for   24th   November   and   1st 
December,  1878). 
\V.  Stirling  (Sir  William  Sterling-Maxwell,  Bt.), '  Annals 

of  the  Artists  of  Spain  '  (Loudon,  1848). 
\y.   Stirling,    'Velazquez  and    his    Works'   (London, 

1855).  „  .   , 

Cumberland,  'Anecdotes  of  Eminent  Painters  in 
Spain' (London,  1782).  .      c     •    . 

Richard  Ford,  '  Handbook  for  Travellers  in  Spam 
(London,  1855).  ^       ^    , 

Richard    Ford,    The   Paintings   of    Spain    ('Quarterly 

Review'  for  June  1848). 
Richard  Ford,  '  Velazquez  '  ('  Penny  Cyclopedia '). 
Edward  Stowe,  '  Velazquez'  (London,  1881). 
Charles   B.   Curtis,    'Velazquez    and   Murillo,   a  de- 
scriptive  and   historical  catalogue  of  their  works' 
(Loudon  and  New  York,  1883). 
Passavant,  'Die  Christliche  Kunst  in  Spanien '  (Leipsic, 

1853). 
Justi,  Carl,  'Velazquez.' 
William.son,  G.  C,  '  Vel.azquez.' 
Walter  Armstrong, '  The  Life  of  Velazquez  '  and  '  The 

Art  of  Velazquez  '  (London,  1896). 
A.  de  Beruetc,  'Velazquez  '  (1898). 
Charles  Ricketts, '  The  Prado  Gallery  and  its  Master- 
pieces'  (1904). 
Robert   A.    M.    Stevenson,  'The  Art   of  Velazquez' 

(1895).  W.  A, 

VELAZQUEZ  MINAYA,  Francisco,  a  knight  of 
the  order  of  Santiac^o,  painted  familiar  subjects  for 
liis  amusement.  He  resided  at  Madrid  about  1630. 
VELDE.  See  Van  de  Velde. 
VELUENAER,  Johann,  a  Dutch  en.arraver  on 
wood,  and  printer,  floiiri.slied  from  1447  to  1483. 
He  was  perhaps  a  native  of  Germany,  as  Italian 
writers  call  him  '  Giovanni  di  Westfalia.'  He 
printed  the  book  called  '  Fascicidus  Temporum,' 
in  Latin,  ornamented  with  wood-cuts,  at  Louvain, 
in  1474;  'Carol!  Viruli  formulae  Epistolarae,'  in 
1476;  the  'Speculum  Humane  Salvationis,'  in 
folio,  perhaps  as  early  as  1480,  also  in  quarto,  at 
Culembourg,  in  1483  ;  and  '  Historia  Sant»  Crucis,' 
at  the  same  place,  in  the  same  year.  The  '  Speou- 
1am  Ilnmanse  Salvationis '  supplies  the  link  between 
the  block-books  and  books  printed  entirely  with 
movable  metal  types,  and  illustrated  with  cuts 
containing  iigures.  Whether  Veldenaer  really  de- 
signed and  engraved  the  cuts  that  ornament  those 
books  is  a  question  that  has  exercised  the  ingenuity 
of  many  able  writers.  He  certainly  sawed  in  two  the 
wood-cuts  from  the  folio  edition  of  the  '  Speculum 
Humana3  Salvationis,'  to  get  them  into  his  quarto 
edition.  For  fuller  accounts  of  Veldenaer  see 
Willsbire,  '  Introduction  to  Ancient  Prints.'  Lon- 
don, 1877. 

VELI,  Benedetto.  This  artist  was  a  native 
of  Florence,  and  flourished  in  the  17th  century. 
He  painted  history  with  some  reputation,  and  Lanzi 
mentions  in  favourable  terms  an  'Ascension'  by 
him  in  the  cathedral  at  Pistoja. 

VELIJN,  Philippos,  designer  and  engraver,  was 
born  at  Leyden  in  1786.     He  studied  at  the  school 
278 


'>Emula  Naturae,'  and  under  Delfos  the  engraver, 
but  developed  his  talents  principally  by  himsel£ 
He  passed  eight  years  in  Paris,  and  afterwards 
became  a  member  of  the  Academies  of  Amsterdam 
and  Antwerp.  He  died  in  1836.  Among  his  best 
plates  were  the  battles  of  Waterloo,  Quatre  Bras, 
and  Esslingen,  and  several  portraits. 

VELLANI,  Francesco,  a  Modenese  painter  of 
the  schonl  of  Stringa,  born  about  1688,  died  in 
1768.  He  left  many  works  in  Modena  and  its 
neighbourhood. 

VELLATRANO,  Viro.  di  Vezzo.  See  Vezzo 
and  under  Vooet,  Simon. 

VELLERT  (VELAERT),  Dierick  Jacobsz,  pain- 
ter and  engraver  of  Antwerp  in  the  16th  century. 
He  signs  with  a  star  between  the  letters  D  and  V, 
which  was  formerly  held  to  be  the  sifinature  of 
Uirk  van  Star.  Numerous  notices  of  Vellert  occur 
at  Antwerp  between  the  years  1511  and  1540.  In 
1511,  in  company  with  Joos  v.  Cleef  (J.  van  der 
Beke)— the  "  Master  of  the  Death  of  Mary  "—he 
was  Master  of  the  Guild  of  St.  Luke  in  that  city  ; 
he  filled  the  office  of  Dean  in  1518,  and  in  1521 
entertained  Diirer  at  a  great  banquet.  Many 
drawings  by  Vellert  for  painted  windows  are 
known,  at  Berlin,  Frankfort,  London,  Vienna, 
Weimar,  and  elsewhere  ;  his  engravings  and 
etchings  date  from  1522-1544  ;  two  woodcuts 
of  1626  also  bear  his  monogram  and  must  have 
been  produced  from  his  drawings.  Certain  paint- 
ings formerly  ascribed  to  H.  de  Bles  are  now 
thought  to  be  by  Vellert,  such  as  a  triptych  at 
Berlin  (which  belonged  to  the  late  Dr.  Lippmann), 
and  other  works  at  Madrid,  Dresden,  &c.  A  glass 
painting  by  Vellert  representing  the  'Triumph  of 
Time '  is  in  a  private  collection  at  Brussels,  and 
was  probably  one  of  a  series  illustrating  the 
'Triumphs  of  Petrarch.'  (For  Vellert,  see  Jahrbuch 
d.  Kunsthistorischen  Sammlungend.  Allerhochsten 
Kaiserhauses,'  Bd.  xxii.  Heft.  1,  1901.)      C.  J.  Ff 

VELTRONI,  Stefano,  an  Italian  painter  of  the 
16th  century,  a  relation  of  Giorgio  Vasari,  whom 
he  accompanied  to  Naples,  Bologna,  and  Florence, 
and  with  whom  he  worked. 

VELY,  Anatoi.e,  a  French  painter,  born  at 
Ronsoy  (Somme)  in  1838,  studied  first  at  Valen- 
ciennes, and  afterwards  in  Paris  at  the  ficole  des 
Beaux  Arts  under  Signol.  He  devoted  himself 
chiefly  to  portraits,  but  not  seldom  painted  subject 
pictures  of  a  decorative  kind.  Several  of  his  works 
found  their  way  to  America ;  in  tlie  Corcoran 
Art  Qalleiy,  Washington,  there  is  'The  Talking 
Weir  by  him.  His  death  took  place  in  Paris, 
January  10th,  1882. 

VENANZl,  Giovanni  Battista,  was  a  native  of 
Pesaro,  and  was  born  about  the  year  1628.  He 
was  for  some  time  a  disciple  of  Guido,  but  after- 
wards studied  under  Simone  Cantarini,  and  perhaps 
under  Gennari,  whose  style  he  closely  followed. 
In  the  church  of  SS.  Gervasio  e  Protasio,  at  Bologna, 
is  a  '  Descent  of  the  Holy  Ghost ';  and  in  the  church 
of  S.  Antonio,  at  Pesaro,  two  subjects  from  the 
life  of  that  saint,  by  him. 

VENDRAMINI,  Giovanni,  an  eminent  engraver, 
was  born  at  Roncade,  near  Bassano,  iu  1769.  He 
pursued  his  studies  in  his  own  country  till  the  age 
of  nineteen,  when  he  came  to  London,  and_  com- 
pleted his  artistic  education  under  Bartolozzi.  In 
1802  he  married  an  English  wife,  and  in  1805 
he  went  to  Russia,  and  spent  two  years  in  that 
country.  He  was  patronized  by  the  Emperor 
and  the  court,  and  his  talents  so  highly  aonreci- 


DIEGO   RODRIGUEZ   DA  SILVA  Y  VELAZQUEZ 


[Pn,J,>  CalUry.   MaJrid 


nilLII'  IV.    AS  A  SPORTSMAN 


PAINTERS  AND   ENGRAVERS. 


ated,  that  he  was  refused  a  passport  when  he  was 
desirous  of  returning  to  England.  He,  however, 
with  the  assistance  of  his  friend,  the  Duke  of 
Saracapriolo,  at  that  time  Neapolitan  ambassador, 
contrived  to  escape,  disguised  as  a  courier  charged 
with  despatches.  His  departure  was  hastened,  as 
he  told  Stanley,  the  last  editor  of  this  diction- 
ary, by  an  accident  that  happened  to  a  large 
cameo,  'Alexander  and  Olj'mpia,'  from  which  he 
had  to  engrave  a  plate  for  the  emperor.  On  his 
return  to  England  he  engraved  several  popular 
pictures  by  contemporary  painters ;  but  those  on 
which  his  reputation  stands  are  after  works  by  the 
old  masters.  Among  these  are,  '  The  Vision  of  S. 
Catherine,'  after  Paolo  Veronese ;  '  S.  Sebastian,' 
after  Spagnoletto ;  'Leda,'  after  Leonardo  da 
Vinci  ;  and  lastly,  the  '  Raising  of  Lazarus,'  after 
Sebastiano  del  Piombo.  Vendraraini  was  a  very 
accurate  draughtsman,  and  frequently  engraved 
from  a  picture  without  making  a  preparatory  draw- 
ing.    He  died  in  London,  February  8th,  18.S9. 

VENENTI,  GlULlo  Cesare,  was  a  Bolognese 
gentleman,  who  was  a  great  admirer  of  art,  and 
studied  it  with  the  zeal  of  a  professor.  He  was 
born  at  Bologna  about  the  year  1609,  and  was 
instructed  in  design  by  Filippo  Brizio,  a  pupil  of 
Guido  Reni.  Zani  places  his  death  in  1697.  There 
are  several  spirited  etchings  by  Venenti ;  among 
them  the  following: 

The  Guardian  Angel ;  after  Dom.  Maria  Canuti. 
Tancred  and  Clorinda ;  after  the  same. 
The  Virgin  of  the  Rose  ;  fifte)'  Parmiyiano. 
A  Landscape,  with  the  Holy  Family;    after  Annibale 
Carracci, 

VENETIIS,  Chatarinus  de,  was  living  in  the 
15th  century,  and  was  both  a  painter  and  a  carver 
of  crucifixes.  The  church  of  Sant'  Agostino  of 
Verruchio  formerly  possessed  a  crucifix  carved  by 
him,  and  painted  by  Nicolaus  Paradixi,  or  Semite- 
colo,  in  1404.  Count  Orsi  of  Ancona  possesses  an 
altar-piece  with  the  Madonna  between  four  saints, 
and  a  Crucifixion  between  six  saints,  both  signed 
by  Chatarinus. 

VENETUS,  RoL.     See  Lefevre. 

VENETUS  DE  MUSIS.     See  Musi. 

VENETZIANOFF.     See  Wenetzianoff. 

VENEVAULT,  Nicolas,  miniature  painter,  was 
born  at  Dijon  in  1697.  He  studied  in  Paris,  and 
became  an  Academician  in  1752.  lie  was  also  a 
member  of  the  Academy  of  St.  Luke,  and  sent 
many  of  his  portraits  and  miniatures  to  its  exhibi- 
tions. In  1724  he  was  commissioned  to  paint  por- 
traits of  the  princes  and  princesses  of  Lorraine  at 
Lun^ville.     He  died  in  Paris  in  1775. 

VENEZIANO,  Agostino.    See  Mdsi. 

VENEZIANO,  Antonio,  (Antonio  Francisci 
DE  Venetiis,)  an  Italian  painter  of  the  14th  cen- 
tury, whose  family  name  was  probably  Longhi. 
The  earliest  authentic  records  of  him  are  in  the 
archives  of  Siena,  which  show  that  he  and  Andrea 
Vanni  worked  together  on  the  ceilings  of  the 
cathedral  in  1370.  Baldinncci  asserts  him  to 
have  been  a  Florentine  by  birth,  but  Vasari  calls 
him  a  Venetian  settled  in  Florence.  In  1374  he 
was  registered  in  the  Apothecaries'  Guild,  which 
included  painters,  of  that  city.  In  1386  he  painted 
the  three  lower  compartments  in  the  series  of  six 
frescoes  illustrating  the  life  of  S.  Raniero,  on  the 
walls  of  the  Campo  Santo,  at  Pisa ;  they  are  now 
nearly  obliterated  ;  the  three  upper  compartments 
were  the  work  of  Andrea  da  Florentia,  and  the 


whole  series  was,  until  recently,  ascribed  to  Simone 
Martini.  He  also  restored  Lorenzetti's  frescoes 
there.  At  Palermo  there  is  a  picture  painted  by 
him  in  1388,  for  the  Compagnia  di  SS.  Niccol6  and 
Francesco,  representing  the  Virgin  and  S.  John 
in  grief.     The  date  of  Antonio's  death  is  unknown. 

VENEZIANO,  Bartolommeo,  was  a  pupil  of  the 
Bellini,  and  lived  in  the  early  part  of  the  16th 
century.  Of  his  life  and  death  no  records  remain, 
and  only  four  authentic  pictures  by  him  are  known. 
The  Locchis  Carrara  Gallery,  Bergamo,  has  a 
'  Virgin  and  Child,'  dated  1505  ;  Colonel  Carew,  of 
Somersetshire,  possessed  a  picture  dated  1506;  the 
late  Mr.  Barker  had  a  portrait  of  a  Lady,  dated 
1530  ;  and  in  the  National  Gallery,  London,  is  the 
portrait  of  a  Young  Man,  dated  1546. 

VENEZIANO,  Bonifazio.     See  Bonifazio  II. 

VENEZIANO,  Carlo.    See  Saraceni. 

VENEZIANO,  Chatarino.    See  Venetiis. 

VENEZIANO,  DoMENico  di  Bartolommeo,  was 
probably  born  in  the  early  part  of  the  16th  cen- 
tury, of  Venetian  parents.  He  signed  himself, 
and  is  mentioned  in  records,  as  a  Venetian,  but 
his  works  have  little  in  common  with  the  school  of 
Venice.  Judging  from  existing  documents,  and 
from  his  style,  he  spent  his  early  years  in  Florence. 
In  a  letter  from  him  to  Piero  de'  Medici,  dated 
from  Perugia  in  1438,  where  he  likewise  resided 
for  many  years,  he  mentions  his  long  connection 
with  the  fortunes  of  the  Medici  family,  and  begs 
to  be  allowed  to  paint  an  altar-piece  for  the  head 
of  that  house.  He  was  a  contemporary  with  Fra 
Angelico  and  Fra  Filippo,  since  those  two  artists 
and  himself  are  known  to  have  valued  the  frescoes 
of  Buonfigli  at  Perugia.  He  worked  at  the  decor- 
ations of  the  Portinari  chapel  in  Santa  Maria 
Novella,  Florence,  from  1439  to  1445,  and  had 
as  his  assistants  Piero  della  Francesca  and  Bicci 
di  Lorenzo.  It  is  certain  that  whilst  employed 
there  he  used  linseed  oil  as  his  medium,  since  the 
hospital  books  of  that  date  make  many  allusions  to 
this  item  in  his  expenses.  The  Uffizi  contains  an 
enthroned  Virgin  and  Child,  with  SS.  John  the 
Baptist,  Francis,  Nicholas,  and  Lucy,  painted  by 
him,  which  shows  that  he  employed  other  vehicles 
than  those  previously  in  use.  His  latter  days  were 
spent  in  Florence,  where  he  died  May  15tli,  1461, 
four  years  after  the  di-ath  of  Andrea  del  Castagno, 
whom  Vasari  accuses  of  having  been  his  murderer. 
Very  few  of  this  artist's  works  are  now  in  existence. 
The  most  important  is  an  enthroned  Madonna, 
in  the  National  Gallery,  with  two  heads  of  saints 
which  formerly  belonged  to  it.  All  three  are  in 
fresco,  and  were  transferred  to  canvas  from  a 
tabernacle  in  the  Canto  de'  Carnesecchi,  Florence. 
The  chief  picture  is  signed  at  the  base  DoMicns, 
D.  Venechs.  p.  Signor  Morelli  further  ascribes  to 
him  the  frescoes  of  Saints  Francis  and  John  the 
Baptist  in  the  church  of  Santa  Croce,  Florence, 
there  attributed  to  Andrea  del  Castagno. 

VENEZIANO,  DoNATO,  an  artist  living  at  Venice 
between  1438  and  1460,  was  probably  a  pupil  of 
Jaoobello.  A  winged  Lion  between  SS.  Jerome  and 
Augustine,  in  the  magazine  of  the  Palazzo  Pub- 
blico,  Venice,  is  all  that  is  now  known  of  his  work. 

VENEZIANO,  Lorenzo,  flourished  between  the 
years  1357  and  1379.  Very  little  is  known  of 
him.  His  earliest  altar-piece  was  painted  for  the 
high  altar  of  the  church  of  Sant'  Antonio  di  Cas- 
tello,  and  is  now  in  the  Academy  at  Venice.  It 
is  dated  1358,  and  represents  the  '  Annunciation,' 
with  a  portrait  of  the  donor,  Domenico  Lion   the 

279 


A    BIOGRAPHICAL   DICTIONARY   OF 


Christ  in  benediction,  and  figures  of  various  Saints, 
and  was  painted  in  conjunction  with  Francesco 
Bissolo.  The  Academy  also  possesses  an  altar- 
piece  by  him  executed  in  1371.  It  consisted  of 
five  panels,  on  which  an  '  Annunciation '  and  six 
figures  of  saints  were  painted,  but  it  is  now  broken 
up  into  separate  works.     We  may  also  name : 

Venice.   Correr  Museum.    Saviour  Enthroned,  with  Saints 
and  Angels.     1369. 

VENEZiANO,  Niccol6.     See  Nelli. 

VENEZIANO,  Paolo.    See  Paolo  Veneziano. 

VENEZIANO,  PoLiDORO.     See  Lanzani. 

VENEZIANO,  Rolando.    See  Lefevre. 

VENEZIANO,  Sebastiano.    See  Luciani. 

VENEZIANO,  Stefano,  was  a  contemporary  of 
Lorenzo  Veneziano  and  Semitecolo,  and  painted  in 
the  same  manner.  He  signed  his  works  Stefan 
Plebanus  SANCT.E  Agnetis,  and  is  hence  supposed 
to  have  been  parish  priest  (piovano)  of  Sant' 
Agnese,  at  Venice  ;  he  flourished  in  the  latter  part 
of  the  14th  century.  The  following  works  are 
ascribed  to  him : 
Paris.  Louvre.    Madonna;    inscribed    mcccliii 

M.  OT. 

Venice.  Academy.     Coronation  of  the  Virgin.  13S1. 

{The  central  p'ltiel  of  an  altar- 
piece^   of    which   the  sifmller 
portions  are  by  Semitecolo.) 
„        Correr  Museum.    Virgin  Enthroned,  holding  the 
Child  Jesus.     13G9. 

VENIER,  Nicholas,  is  mentioned  by  Strutt  as 
the  engraver  of  a  set  of  twelve  plates,  representing 
the  Months  of  the  Year,  after  Bassano. 

VENIUS.     See  Veen. 

VENNE.     See  Van  der  Venxe. 

VENNEMAN,  Charles  Ferdinand,  painter,  was 
born  at  Ghent  in  180^.  In  his  early  youth  he 
studied  at  the  Ghent  Academy,  and  began  his 
career  as  a  decorative  painter.  In  1836  he  deter- 
mined to  devote  himself  to  easel  pictures,  and  com- 
pleted his  training  under  De  BraeUeleer  in  Antwerp. 
He  painted  homely  interiors,  drinking  scenes,  &l\, 
after  the  style  of  Ostade,  which  had  considerable 
success.  His  'Card-Players'  is  in  the  gallery  of 
his  native  town,  and  tliere  is  a  '  Peasant  Scene'  by 
him  in  the  New  Pinacotliek  at  Munich.  He  died 
in  1875. 

VENTURINI,  Giovanni  Francesco,  was  born 
at  Rome  about  the  year  1619.  From  the  style  of 
his  engraving,  it  is  probable  that  he  was  a  disciple 
oi  Giovanni  Battista  Galestruzzi.  He  etched  several 
plates  from  the  works  of  Italian  masters,  among 
them  the  following : 

A  set  of  Plates  ;  after  Polidoro  da  Caravagyio. 
Diana  and  her  Nymphs  ;  after  Domenichtno. 
The  Pulpit  of  S.  Peter's ;  after  Bernini. 
A  partial  bird's-eye  View  of  Rome. 

VENUSTI,  Marcello,  was  born  at  Como  in 
1515,  and  was  a  scholar  of  Perino  del  Vaga ;  but 
he  is  chiefly  indebted  for  his  reputation  to  his 
study  of  Michelangelo,  and  to  being  employed  by 
that  master  as  assistant.  He  also  executed  several 
original  works  in  the  churches  and  public  buildings 
of  Rome.  Cardinal  Alessandro  Farnese  employed 
him  to  copy  tlie  '  Last  Judgment'  of  Michelangelo, 
on  a  small  scale,  which  he  accomplislied  so  well 
that  Buonarroti  engaged  him  to  paint  an  '  Annun- 
ciation '  from  his  design  for  the  Capella  de'  Cesi,  in 
the  church  of  the  Pace.  The  copy  of  the  '  Last 
Judgment'  is  now  at  Naples.  In  the  Palazzo 
Borghese  there  is  a  fine  'Christ  bearing  His  Cross  ' 
by    him,   from    a    design    by    Michelangelo.      A 

280 


'  Prayer  on  the  Mount  of  Olives '  is  in  Sant'  Ignazio 
at  Viterbo,  and  a  '  Holy  Family '  in  the  National 
Gallery.  Perhaps  the  best  of  his  more  original 
pictures,  however,  are :  '  Christ  expelling  the 
Money-Changers,'  also  in  the  National  Gallery ; 
and  '  Christ  in  Hades,'  in  Palazzo  Colonna,  Rome. 
He  died  in  1579. 

VERA,  Cristobal  de,  born  at  Cordova  in  1577. 
It  is  probable  that  he  studied  under  Cespedes  in 
that  city.  In  1602  he  removed  to  Castile,  and  be- 
came a  lay  brother  of  the  Hieronymites  of  Lupiana, 
painting  eight  '  Stations '  of  the  Cross  for  their  clois- 
ters. His  nephew,  JuAN  de  Vera,  had  commenced 
his  novitiate  in  the  convent  of  La  Sisla,  at  Toledo, 
when  he  was  there  visited  by  his  uncle  Cristobal. 
At  the  end  of  the  year  Juan  left  the  convent 
without  assuming  the  cowl;  but  Cristobal  remained 
to  paint  two  altar-pieces  for  the  church,  a  '  S. 
Jerome '  and  a  '  S.  Mary  Magdalene.'  He  died 
soon  afterwards,  in  the  year  1621,  and  was  buried 
in  the  convent. 

VERA  CABEZA  DE  VACA,  Francisco,  a  Spanish 
portrait  painter,  and  pupil  of  J.  Martinez,  born  at 
Calatayud  in  1637,  was  page  to  Don  John  of 
Austria.     He  died  in  1700. 

VfiRARD,  Antoine,  an  illuminator,  wood  en- 
graver, printer  and  bookseller,  who  flourished  in 
Paris  from  about  1485  to  1512.  Scarcely  any- 
thing is  known  of  his  life  beyond  the  facts  that  in 
1499  he  occupied  a  shop  with  the  sign  of  S.  John 
the  Evangelist  on  the  Pont  Notre  Dame,  and  that 
he  afterwards  lived  successively  in  the  Carrefour 
S.  S^virin,  in  the  Rue  S.  Jacques,  and  in  the  Rue 
Neuve  Notre  Dame.  He  illustrated  and  published 
a  miscellaneous  variety  of  works,  among  which  the 
most  famous  are  the  following:  '  Chronique  de  S. 
Denis'  (1493),  '  L'art  de  bien  Mourir,'  '  Le  Romant 
de  la  Eose,'  'La  L^gende  Dor^e  en  Fran9oys,' 
and  '  Les  Heures  de  Notre  Dame  en  Francoys  et 
en  Latin.'  Of  this  last  he  published  many  editions. 
He  is  also  supposed  to  have  illuminated  a  '  Danse 
Macabre,  avec  les  Trois  vifs  et  les  Trois  morts,' 
printed  on  vellum,  of  which  only  two  copies  exist. 
Of  his  '  Figures  du  Vieil  Testament  et  du  Nouvel,' 
only  one  copy,  a  splendid  volume  printed  on  vellum, 
is  known.     It  is  in  the  British  Museum. 

VERAT,  Darids.     See  Varotari. 

VERBEECK,  Cornelis,  a  Dutch  painter  of 
marines,  who  was  inscribed  on  the  books  of  the 
Haarlem  Guild  in  1610.  He  was  the  father  of 
Pieter  Cornelisz  Verbeeck. 

VERBEECK,  FRANgois  Xavier  Henri,  a  Flemish 
military  painter,  was  born  at  Antwerp  in  1686.  His 
master  was  P.  Casteels,  whose  daughter  he  after- 
wards married.  He  was  received  into  the  Guild  of 
S.  Luke  in  1709,  and  from  1741  to  1747  was  dean 
of  the  Fraternity,  and  one  of  the  Directors  of 
the  Antwerp  Academy.  He  had  two  daughters, 
Elizabeth  (b.  1720)  and  Anne  (b.  1727),  who 
became  artists,  and  were  his  pupils.  He  died  in 
1755.     There  is  by  him  : 

Vutwerp.  JTuseum.    State  visit  to  the  '  Serment  de 

I'Escrime.'    1713. 

VERBEECK,  Frans,  a  painter  of  Mechlin  in  the 
16th  century,  was  a  pupil  of  Frans  Minnebroer. 
He  painted  Scriptural  scenes,  peasants'  marriages, 
&c.,  in  the  style  of  Jerom  Bos,  but  in  distemper. 
He  became  free  of  the  Guild  of  S.  Luke  in  1631, 
was  dean  in  1563,  and  died  in  1570.  His  brother 
Philip  entered  the  Guild  at  Mechlin  in  1525. 

VERBEECK,   Jan,  called    Hans   of   Mechlin, 


DOMENICO  DI   BARTOLOMMEO  VENEZIANO 


Ihlfijslallgl  plu'ki\ 


\('ilasgow  iidUeiy 


ST.   CATHAUINK 


PAINTERS  AND  ENGRAVERS. 


flourished  in  that  city  in  the  second  part  of  the 
16th  century.  He  was  probably  the  son  of  Fraiis 
VerbeecL  He  tooli  part  in  the  decorative  works 
for  the  entry  of  Albert  and  Isabella  into  Mechlin 
in  1599,  and  was  granted  the  title  of  painter  to 
their  Highnesses.     He  was  still  living  in  1619. 

VERBEECK,  Pieter  Cornelisz,  a  painter  and 
etcher  of  Haarlem,  bom  probably  about  1599, 
was  the  son  of  one  Cornelis  Verbeeck.  He 
entered  the  Guild  at  Alkmaar  ia  1635,  and  became 
a  master  at  the  Hague  in  1645.  The  subjects  of 
his  pictures  were  tavern  scenes,  cavalry  combats, 
halts  of  travellers,  hunting  parties,  landscapes,  &c. 
He  has  also  h-ft  drawings  in  chalk  and  Indian  iuk, 
and  eight  plates  (1619-39)  etched  in  the  style  of 
Rembrandt.  Pictures  by  him  are  in  the  Museums 
of  Berlin,  Cassel,  and  Stockholm.  Brulliot  describes 
a  print  of  '  A  Shepherd  standing,'  signed  P.  C-  Ver- 
beecq,  and  dated  1639.  The  figure  wears  a  bonnet 
ornamented  with  a  feather,  and  is  dressed  in  a 
short  cassock,  with  a  calabash  on  his  right  side, 
and  holds  a  crook  ;  he  is  accompanied  by  a  dog. 
Two  small  busts,  in  ovals,  of  a  Man  and  a  Woman, 
in  Oriental  costume,  have  the  same  signature  and 
date. 

VERBOECKHOVEN,  Charles  Louis,  Flemish 
painter ;  born  at  Warreton,  West  Flanders,  Feb- 
ruary 5,  1802  ;  became  a  pupil  of  his  father,  and 
then  travelled  for  purposes  of  study.  He  painted 
marine  subjects,  of  which  examples  are  visible  in 
the  Museums  of  Antwerp,  Courtrai,  and  Leipzig. 
He  was  a  member  of  the  Amsterdam  Academy, 
and  obtained  medals  at  Brussels,  Cambrai,  Arra.'i, 
and  Lille.     He  died   at  Brussels,  September  25, 

1889. 

VERBOECKHOVEN,  EugIine  Joseph,  painter, 
born  at  Warneton,  in  East  Flanders,  June  8th,  1798, 
was  the   son   of  Barth^lemy  Verboeokhoven,  the 
sculptor,  and  was  taught  design  and  modelling  by 
his  father.     The  practice  of  modelling  animals  in 
clay  was  continued  by  him  after  he  began  to  work 
as  a  painter,  and  to  it  may  be  attributed  much  of 
the  correctness  in  the  rendering  of  animal  life  and 
form  which  is  observable  in  his  pictures.     His  sub- 
jects are  principally  horses,  cattle,  and    dogs   in 
landscapes,  after  the  manner  of  Potter  and  Omme- 
ganck.     He   was   exceedingly   popular   amungst 
American    picture-buyers,   and   his   most  notable 
works  are  in  New  York,  Boston,  and  Washington. 
He  was  a  member  of  the  Academies  of  Belgium, 
Antwerp,  and  St.  Petersburg,  and  was  honoured 
in  very  many  countries,  as  he  received  the  Orders 
of  Leopold  of  Belgium,  Michael  of  Bavaria,  Christ 
of  Portugal,  as   well   as  the  Legion  of  Honour, 
and  the   Iron   Cross  of  Germany.     He  exhibited 
mainly  in  Paris  and  St.  Petersburg,  and  his  works 
were  always  received  with  enthusiasm.     He  bad 
a  wonderful  sense  of  beauty,  which,  coupled  with 
an  intense  love  for  the  dumb  creation,  enabled  him 
to  represent  the  creatures  he  painted,  not  only  in 
very   lifelike    attitudes,  but   also   so   grouped    as 
to  form   a   delightful   picture.      He   practised   at 
Brussels,  where  lie  had  an  atelier  for  his  pupils, 
and    gained    various    honours    from   the   Belgian 
Government.     He  died  at  Brussels,  January  19th, 
1881.     Well-known  works  by  him  are  : 

Amsterdam.  iJ.  Museum.     Tliree  landscapes  with  Animals. 
Brussels.  Museum.     Sheep  surprised  by  a  Storm. 

Hamburg.      Kunsthalle.     Flock    of    Sheep     and    other 

Animals. 
lionion.  S.Kensini/tmM.     Landscape    with     sheep     and 

ducks. 
Mmiicb.  iV.  Finacothek.    A  Sheep-fold. 


The  Antwerp  Museum  has  a  '  Flood  Tide,'  signed 
by  him,  in  which  the  marine  background  was 
painted  by  his  brother,  Charles  Louis. 

VERBOOM,  Adruen  or  Abraham  H.,  (or  Van 
Boom,)  was  a  native  of  Holland,  and  flourished  in 
the  third  quarter  of  the  17th  century.  He  painted 
landscapes  in  a  style  in  which  characteristics  of 
Waterloo,  Both,  and  Jakob  Ruysdael  are  to  be 
traced.  His  pictures  are  occasionally  enriched 
with  figures  and  animals  by  A.  van  de  Velde, 
Wouwerman,  and  Lingelbach.  The  dates  of  his 
birth  and  death  are  unknown.  Examples  of  his 
work  bearing  dates  from  1649  to  1663  are  to  be 
seen  at  Amsterdam,  Brunswick,  Brussels,  Dresden, 
and  Rotterdam.  The  Dulwich  Gallery  possesses  a 
good  Verboom  in  a  '  Church  near  a  wood,'  figures 
preparing  for  the  chase  ;  the  figures  and  animals 
are  by  Lmgelbach.  He  has  also  left  a  couple  of 
etchings : 

Le  Hameau.     A  but  in  a  wooded  landscape. 

La  Piece  d'eau.    A  landscape  with  a  sheet  of  water. 

VEHBRUGGE,  Gusbert  Andriesz,  was  born 
at  Leyden  in  1633,  according  to  Immerzeel,  but 
Fiissli  and  Zani  say  twenty  years  later.  He  was  a 
scholar  of  Gerard  Dou,  but  confined  himself  chiefly 
to  portrait  painting.  He  passed  some  time  in 
England,  but  returned  to  his  own  country  and 
established  himself  at  Delft,  where  he  died  in  1730. 

VERBRUGGE,  Jean  Charles,  painter,  born  at 
Bruges  in  1756,  was  a  pupil  of  J.  Gaeremyn  and  of 
L^gillon.  In  the  Academy  of  Bruges  there  are 
several  of  his  works,  which  were  generally  farm- 
yard interiors,  with  animals.     He  died  in  1831. 

VERBRUGGEN,  Gaspak  Pieter,  born  at  Ant- 
werp in  1664,  was  the  son  and  pupil  of  the  elder 
Gasi'AR  Verbrdggen,  a  flower  painter,  who  died 
in  1680  or  1681.  Having  acquired  considerable 
reputation  in  his  native  city  as  a  painter  of  flowers 
and  fruit,  and  having  become  dean  of  the  Guild 
there  in  1691,  Gaspar  the  younger  established 
himself  at  the  Hague  in  1706.  The  GrefBer  Fagel 
employed  him,  in  conjunction  with  Matheus  Ter- 
westen,  in  the  decoration  of  his  hotel.  The  figures 
were  painted  by  Terwesten,  and  the  festoons  of 
flowers  and  fruit,  with  the  other  ornaments,  were 
executed  by  Verbruggen.  In  1708  he  was  made 
a  member  of  the  Academy  of  the  Hague,  where, 
during  a  residence  of  several  years,  he  amassed  a 
competent  fortune.  He  squandered  his  wealth, 
however,  and  returning  destitute  to  Antwerp,  he 
died  there  as  a  servant  of  the  Guild  in  17.30.  The 
works  of  Verbruggen  show  much  facility,  but  his 
productions  during  the  latter  part  of  his  life  are 
very  inferior  to  those  of  an  earlier  date.  The 
Antwerp  Museum  has  a  flower-piece  by  him. 

VERBRUGGEN,  Hendrik.     See  Teberuggen. 

VERBUYS,  Arnold,  horn  at  Dordrecht  about 
1655;  married  Swania  van  Haestrecht  of  the 
Hague  at  Schiedam  ;  living  at  Middelburg,  1692- 
95;  in  1702  settled  at  the  Hague.  From  his  evil 
life  and  the  licentious  character  of  many  of  his 
pictures  he  received  the  nickname  of  "  the 
Libertine."  He  was  a  painter  of  history,  portraits, 
and  lascivious  subjects,  and  was  a  man  much 
given  to  drink.  His  wife  and  one  of  his  daughters, 
Theodora  Maria,  were  painters,  and  admitted  into 
Guild,  Nov.  16,  1706.  Died  in  extreme  poverty  at 
Delft  in  1729. 

Angers.  Museum.     Mars  and  Venus. 

Gotha.  Museum.    Andromeda,  W.  H.  J.  W. 

281 


A   BIOGRAPHICAL   DICTIONARY   OF 


VERCHIO.    See  Civerchio. 

VERCRUIJS.     See  Verkruts. 

VEUDAEL.     See  Verdoel. 

VERDE.     See  Santvoort,  Ant. 

VERDEN,  Meister  von.  See  Master  of 
Werden. 

VERDIER,  FiiANgois,  sometimes  called  Van 
Hawken,  a  French  historical  painter,  designer,  and 
engraver,  was  born  in  Paris  in  1651.  He  was  a 
scholar  of  Le  Brun,  whose  niece  he  married,  and 
in  1668  obtained  the  first  prize  for  drawing.  He 
assisted  Le  Brun  at  Versailles,  at  Trianon,  and  in 
the  Apollo  Gallery  of  the  Louvre.  He  also  copied 
many  works  of  his  master.  For  his  '  Hercules 
with  Geryon '  he  was  admitted  in  1678  to  the 
Academy,  of  which  in  1684  he  became  a  professor. 
He  painted  'The  Resurrection  of  Lazarus'  for 
Notre  Darae  in  1677,  and  worked  for  many  other 
Paris  churches.  In  1698  he  designed  forty  plates 
from  'The  History  of  Samson,'  of  which  he  himself 
engraved  four.  He  died  in  Paris,  June  20th,  1730. 
His  drawings  are  numerous  in  France ;  they  are 
chiefly  in  black  or  red  chalk  heightened  with 
white.  There  are  pictures  by  him  in  the  Louvre, 
and  in  the  Museums  of  Nantes,  Orleans,  and 
Rennes. 

VERDIER,  .Jean  Louis  JosEre,  French  painter, 
born  at  Ischia,  May  3rd,  1849 ;  studied  under 
Gleyre,  and  with  his  father.  He  painted  land- 
scapes and  aspects  of  sylvan  scenery.  His  death 
by  suicide  in  Paris  occurred  on  October  5tli, 
1895. 

VERDIER,  Marcel  Antoine,  painter,  was  bom 
in  Paris  in  1817.  He  studied  at  the  Ecole  des 
Beaux  Arts,  and  was  also  a  pupil  of  Ingres.  He 
painted  chiefly  portraits,  many  of  which  appeared 
at  the  Salon  between  1835  and  1853.  He  died  in 
1856.  The  Museums  of  Arras  and  Montpellier  own 
pictures  by  him. 

VERDIZZOTTI,  Giovanni  Maria,  was  born  at 
Venice  in  1525,  and,  according  to  Ridolfi,  was  the 
scholar  and  friend  oi  Titian.  He  excelled  in  paint- 
ing small  landscapes,  in  the  style  of  his  instructor; 
these  he  embellished  with  some  subject  from  his- 
tory or  fable.  He  also  published  a  translation  of 
Ovid's  '  Metamorphoses,'  and  the '  .fflneid  '  ;  and,  on 
the  death  of  Titian,  celebrated  the  memory  of  his 
master  in  a  Latin  poem.    He  died  at  Venice  in  1600. 

VERDOEL,  Adkiaen,  (or  Verdael,)  was  born 
at  Overmaas,  in  Holland,  in  1620.  It  is  said  that 
he  studied  under  Leonard  Bramer  and  Gaspar 
De  Witte  ;  other  accounts  say  that  he  enteied  the 
school  of  Rembrandt.  In  later  life  he  quitted  the 
practice  of  art,  and  became  a  dealer.  He  was 
also  a  poet,  and  in  1675  received  a  prize  for  a 
drama.  He  died  at  Flushing  in  1681.  There  is 
a  picture  by  him  in  the  Copenhagen  Gallery. 

VERDOT,  Claude,  was  bom  in  Paris  in  1667, 
and  became  a  pupil  of  Bon  de  Boullongne.  He 
gained  the  second  prize  at  the  Academy  in  1690, 
with  a  '  Building  of  the  Tower  of  Babel.'  He  was 
received  as  an  Academician  in  1707,  his  reception 
picture  being  '  Hercules  strangling  Antseus.'  He 
worked  nmch  for  the  churches  in  Paris,  where  he 
died  in  1733.  A  '  S.  Paul  at  Malta'  by  him  is  in 
the  Louvre. 

VERDUSSEN,  Jan  Pieter,  a  painter  of  battles, 
horse-fairs,  hunting-pieces,  and  other  animal  sub- 
jects, was  bom  probably  at  Antwerp  about  1700. 
He  at  first  worked  at  Marseilles,  where  he  became 
director  of  the  Ecole  de  Dessin,  and  then  entered 
the  service  of  the  King  of  Sardinia  as  a  painter  of 
282 


battles.  He  died  at  Avignon  in  1763.  The  Mar 
fellies  Gallery  contains  a  battle-piece  by  him,  the 
Schleissheim  Gallery  two  pictures,  and  that  of 
Augsburg  a  '  Meet  after  the  Hunt.'  A  '  View  of 
Windsor,  with  a  gamekeeper  and  dogs,'  ascribed 
to  him  in  the  Hampton  Court  catalogue,  suggests 
that  he  visited  England. 

VERDYEN,  Eugene,  Belgian  painter ;  born  in 
1836;  studied  witli  Portaels  ;  appointed  Professor 
at  the  Brussels  Academy  of  Fine  Arts  ;  one  of  his 
canvases,  '  La  Meuae  a  Dave,'  was  bought  by  the 
Belgian  Government  for  the  Brussels  Museum. 
He  died  at  Brussels,  June  30,  1903. 

VEREIJCKE,  Hans,  (Vereycke,  Verrijke,) 
called  also  "Kleyn  Hanskiu,"  or  "Little  John,"  was 
born  at  Bruges  about  1510.  He  excelled  in  land- 
scapes with  figures,  in  glass  painting,  and  in  por- 
traits. He  painted  the  portraits  of  Karl  van 
Mander's  uncle  Claudius,  with  his  wife  and  children, 
on  the  wings  of  a  triptych,  the  centre  of  which 
represented  the  Virgin  in  a  landscape.  He  is 
supposed  to  have  died  about  1569. 

VERELLEN,  Jean  Joseph,  a  Flemish  hisvorioal 
painter,  was  born  at  Antwerp  in  1788.  He  was  a 
pupil  of  Herreyns.  His  '  Jupiter  and  Mercury  in 
the  House  of  Philemon  and  Baucis '  is  now  in 
the  Brussels  Gallery.     He  died  in  1856. 

VERELST,  Cornelis,  the  son  of  Herman  Verelst, 
was  born,  probably  at  the  Hague,  in  1667,  and 
accompanied  his  father  to  England,  where  he  met 
with  success  in  painting  similar  subjects.  He  died 
in  London  in  1734. 

VERELST,  Giles  (or  Egidius).     See  Verhelst. 

VERELST,  Herman,  the  elder  brother  of  Simon, 
and  the  pupil  of  his  father,  Pieter  Verelst,  was  bom 
at  the  Hague  after  1640.  He  became  a  master  of 
ihe  Guild  at  the  Hague  in  1666.  From  1667  to 
1670  he  was  settled  in  Amsterdam,  and  then,  after 
visiting  Italy,  resided  at  Vienna  until  it  was  in- 
vested by  the  Turks  in  1683.  He  had  there 
icquired  some  reputation  as  a  painter  of  fruit  and 
flowers,  and  sometimes  attempted  history,  por- 
traits, genre,  and  landscapes.  The  success  of  his 
brother  induced  him  to  migrate  from  Austria  into 
England,  where  he  passed  the  remainder  of  his  life, 
dying  in  London  about  1700.  Portraits  of  Jan  de 
\Vitt  and  his  wife,  by  him,  are  in  the  Amsterdam 
Museum. 

VERELST,  Maria,  the  'daughter  of  Herman 
Verelst,  was  born  at  Vienna  in  1680,  and  learned 
the  first  rudiments  of  design  from  her  father,  but 
was  more  indebted  to  the  mstruction  of  her  uncle, 
Simon  Verelst,  with  whom  she  principally  lived. 
She  excelled  in  painting  portraits  of  a  small  size, 
and  occasionally  attempted  history.  She  had  re- 
ceived an  excellent  education,  was  a  proficient  in 
music,  and  spoke  Latin,  German,  Italian,  and  other 
languages.     She  died  in  London  in  1744. 

VERELST,  Pieter,  who  was  born  in  1614  at 
Antwerp,  was  a  painter  who  imitated  Rembrandt 
in  his  portraits,  and  Adriaen  van  Ostade  in  his 
genre  pictures.  He  has  been  called  a  pupil  of 
Gerard  Dou,  but  there  seems  to  be  no  evidence  in 
support  of  that  idea.  From  the  records  of  the 
Artists'  Guild  at  the  Hague,  he  is  known  to  have 
been  still  living  in  1665,  and  three  years  later  he 
is  said  to  have  left  that  city  in  order  to  escape  his 
creditors,  but  great  uncertainty  exists  as  to  the 
dates  both  of  his  birth  and  death.  Verelst's 
works  are  carefully  finished,  but  a  pervading 
brownish-red  tint  somewhat  mars  the  effect  of 
his   good  chiaro-scuro.      He    signed   big  pictures 


PAINTERS  AND  ENGRAVERS. 


variously  \A  P- 
Pieter  Verheeht,  and 
Berlin.  Museum 


Dresden. 


Gallery. 


England.  Marq.  of  Bute. 


Haarlem. 
Vienna. 


Museum, 
Gallery. 


V.D.E.,  P.V.E.,  and  in  full, 

Pieter  Verelst.     Works : 
Portrait  of  an  old  woman.  1648. 
The  Sempstress. 
Old  man  sitting  before  a  coal 

iire. 
Man  with  long  beard,  reading 

at  a  table. 
Interior    with    figures,   among 

them  a  youth  playing  on  a 

Violin ;       signed      P.     Ver- 

heelst.     165  .  . 
A  Dutch  Family.     1665. 
Peasants  smoking. 
Peasants  carousing. 
ij  „  Two  Male  Portraits. 

VERELST,  Simon,  the  son  of  Pieter  VereLst,  was 
born  at  Antwerp  in  1637  or  1640,  and  distinRuislied 
himself  as  a  painter  of  flowers  and  fruit.  In  1666 
he  became  a  master  of  the  Guild  at  the  Hague. 
In  the  reign  of  Charles  II.  he  visited  England, 
where  he  was  extensively  employed,  and  received 
higher  prices  than  had  ever  been  given  for  similar 
subjects  here  before.  It  was  his  practice  to  sur- 
round his  portraits  with  garlands  of  fruit  and 
flowers.  Walpole  gives  a  curious  picture  of  his 
vanity,  conceit,  and  success.  The  flattery  he 
received  seems  to  have  turned  his  head.  He 
called  himself  the  '  God  of  Flowers  '  and  the  '  King 
of  Painting.'  He  had  ultimately  to  be  placed  in  a 
lunatic  asylum,  but  recovered  his  reason  towards 
the  close  of  his  life.  He  died  in  London  in  1710. 
He  painted  portraits  of  the  Duke  of  Buckingham 
and  the  Prince  de  Conde.  The  Louvre  has  a  young 
lady's  portrait  by  him;  at  Hampton  Court  then- 
are  a  '  Duchess  of  Portsmouth  as  Flora,'  and  a 
study  of  white  grapes. 

VERELST,  WiLLEM,  son  of  Comelis  Verelst, 
was  a  portrait  painter,  who  died  in  London  in  or 
soon  after  1756.  He  painted  a  portrait  of  Smollett 
in  that  year,  and,  before  the  fire  of  1864,  the  Rotter- 
dam Museum  had  two  portraits  of  his  dated  1729. 

VERENDAEL,  Nicolaes  van,  was  born  at  Ant- 
werp in  1640.  He  was  instructed  by  his  father, 
WiLLEM  VAN  Verendael,  and  acquired  a  consider- 
able celebrity  as  a  painter  of  flowers  and  fruit. 
In  his  works  every  object  is  faithfully  copied  from 
nature,  and  the  insects,  which  he  was  fond  of  intro- 
ducing, are  handled  with  surprising  minuteness 
and  precision.  His  flower-pieces  are  tastefully 
arranged,  and  are  generally  preferred  to  his  pictures 
of  fruit.  He  died  at  Antwerp  in  August,  1691. 
Works : 

Berlin.  Museum.     Flower  piece,   with   medallion 

in   grisaille    of    Virgin    and 
Child  in  the  centre. 
Dresden.  Gallery.     Apes  on  a  table.     1686. 

jj  „  Bouquet. 

„  Bouquet  in  a  picture  by  Teniers. 

(No.  1019.) 
Munich.  Gallery.     Flowers  in  a  picture  by  J.  De 

Heem.     (No.  624.) 
Petersburg.     Hermitage.     Dessert  on  a  table. 

J,  „  Bust  of  Pomona. 

„  „  Bust  of  Flora. 

VERESHCHAGIN,  Vasili  Vasilievich,  also 
known  as  Vassili,  or  Basil  Verkstchagin,  in 
English  ;  Was^ili  Wereschtschagin  in  German  ; 
and  as  Wassili  VEREsrCHAGUiNE  in  French. 
Vereslicliagin,  if  not  the  greatest,  vv:is  certainly  the 
most  famous  of  Russian  painters.  He  was  of 
Tartar  blood  on  his  mother's  side,  and  was  born 
October  26,  1842,  at  the  village  of  Liubets  in  the 


District  of  Cherepovets  and  the  Government  of 
Novgorod.     His  father  was  a  rich  landowner  and 
intended  his  son  for  the  navy,  but  the  son's  desire 
was  for  art.     At  five  years  of  age  he  copied  the 
picture  of  a   "troika"   imprinted  on   his   nurse's 
handkerchief,   and,  later,  all  the  pictures   in  his 
father's  house.     From  1858  to  1860,  while  still  at 
the  school  for  naval  cadets,  he  attended  the  St. 
Petersburg   Drawing    School.     Artists   in   Russia 
are  recruited  chiefly  from  the  poorer  classes,  and 
Vereshchagin's  parents  strongly  opposed  his  adopt- 
ing an  artist's  career.     He,  however,  left  the  navy, 
and,  having  obtained  a  scholarship  of  about  30L, 
he  entered  the  Academy  of  Fine  Arts,  St.  Peters- 
burg, where  in  1862  he  gained  the  small  silver 
medal   for   his    picture   of  '  Ulysses   slaying  the 
Suitors  of  Penelope.'     But  later,  having  joined  the 
revolt  against  the  classical  style  insisted  upon  by 
the  prolessors,  he  destroyed  this  picture.     Apart 
from  his  scholarship  he  had  supported  himself  by 
sketching   for  the  illustrated   papers,  illustrating 
Zotov's  'History  of  Russia,'  colouring  plans,  making 
mechanical  drawings,  and  giving  drawing  lessons. 
But  his  gain  of  the  silver  medal  brought  him  some 
favour  from  his  p.-^rents,  and  in  1863  he  was  able 
to  go  to  the  Caucasus,  and  while  earning  his  living 
by  teaching  drawing  in  a  ladies'  school  at  Tiflis, 
he  yet  found  time  to  indulge  to  the  full  his  love  of 
sketching.     Unfortunately   he   lost    three   of    his 
sketchbooks.     In  1864  he  went,  aided  by  money 
from  his  father,  to  Paris,  where  he  started  an  art 
journal,  which  failed,  studied  under  Gerome,  and 
attended  the  ficole  des  Beaux  Arts.    He,  however, 
refused  to  obey  his  instructors,  who  had  advised 
him  to  draw  from  the  antique  and  to  copy  pictures 
in  the  Louvre,  and  he  returned  to  the  Caucasus, 
sketching  there  everything  that  came  in  his  way. 
At  the  end  of  the  year  he  brought  his  sketches  to 
Paris,  where  they  were  much  admired  by  his  old 
teacher  Gerome,  and  he  was  employed  to  furnish 
a  sketch, '  Luke  the  Evangelist,' which  Bida  etched 
for  his  illustrated  bible.     Gerome  urged   him  to 
study  colour,  and   the  result  was  an   attempt  to 
paint  a  large  canvas  in  oil  at  his  home  in  Novgorod, 
the  subject  being  'The  Towpath  of  the  Volga,' 
representing  some  two  hundred  men  towing  their 
craft  on  that  river.     But  he  quarrelled   with  his 
parents   before   the  picture  was  finished,  and  left 
home  for  Paris,  where  Bida  got  him  employment 
to  illustrate  in  the  'Tour  du  Monde'  his  account 
of    his    own   travels   in   the   Caucasus.     He   also 
painted  and  exhibited  in  the  Salon  of  1866  'The 
Dukhobors    (Russian    Dissenters)     chanting    the 
Psalms,'  which  picture  attracted  considerable  at- 
tention.    In  1867  he  accompanied  General  Kauf- 
mann  in  his  Turkestan  expedition  and  took  part 
in  the  defence   of  bamarcand.     He  remained   in 
Turkestan   till    18G9,   and  on    his    return   held   an 
exhibition  of  his  pictures  and  sketches  of  the  war 
and  of  the  country  and  people,  first  in  Paris  and 
then  at  St.  Petersburg,  at  which  latter   place  it 
filled  three  halls  of  the  Ministry  of  Domains.     The 
same  year  he  went  back  to  Turkestan  in  order  to 
deepen    his   impressions.     In   1871,  having  come 
into  his  iidieritance,  he  settled  in  the  outskirts  of 
Munich,  where  he  lived  the  life  of  a  hermit,  devoting 
his  whole  time  (from  twelve  to  fifteen  hours  daily) 
to  painting  pictures  based  on  the  materials  he  had 
collected  in  the  Caucasus  and  in  Turkestan,  and 
working  for  the  most  part  in  the  open  air  in  order 
to  obtain  the  strong  light  he  considered  so  essential 
to  vividness  of  colouring.    He  exhibited  the  results 

283 


A   BIOGRAPHICAL   DICTIONARY   OF 


of  his  labours  and  many  of  his  previous  pictures 
at  the  Crystal  Palace  in  1873,  and  at  the  Ministry 
of  the  Interior,  St.  Petersburg,  in  1874.    In  addition 
to  the  war  pictures,  the  studies  of  ethnographical 
types  and  of  the  architecture  of  the  Caucasus  and 
Central  Asia  formed  an  interesting  feature  of  these 
exhibitions.     His  industry  had  been  so  great  and 
bis  pictures,  in  couseqnence,  were  so  numerous, 
that  he  was  accu.sed  of  having  employed    other 
artists  upon  them,  and  this  charge  was  investigated 
and   solemnly   contradicted   by   the   Munich   Art 
Society.     In  1874  he  went  to  India  and  remained 
there  two  years.     Id  his  eagerness  to  obtain  novel 
effects  of  light  and  colour  he  ascended,  at  great 
personal    risk,    the    Himalayas    in    winter.     His 
studies  as  usual  were  very  varied,  and  included  the 
land,  its  people  and  architecture.     On  his  return 
he  had   constructed  at   Maison    Lafitte,   close   to 
Paris,  a  winter  and  a  summer  studio,  the  former 
one  hundred  by  tifty  feet,   and   the  latter  much 
smaller,  but  arranged  to  revolve  so  that  he  could 
always  obtain  the  maximum  amount  of  sunlight. 
Here  he  commenced  to  digest  the  store  of  material 
collected  in  India,  working  some  of  it   into   the 
form  of  historical  pictures  illustrating  tlie  British 
conquest  of  India.     His  historical  "  facts,"  how- 
ever, were  impugned  :  to  his  picture,  for  instance, 
of  '  Hindoos  blown  from  the  Guns '  it  was  objected, 
in  the  first  place,  that  this  event  never  happened, 
and  in  the  second  place,  that  at  the  time  of  the 
Mutiny  British  soldiers  did  not  wear  helmets  as 
depicted,  but  shakos.     In  1877  the  outbreak    of 
the  Russo-Turkish  war  drew  him  away  from  his 
unfinished   Indian   work,   and    offered    Inm   fresh 
material  for  illustrating  the  horrors  of  war,  which 
already  in  Turkestan  he  had  considered  as  part  of 
his  life's  mission.     The  loss  of  a  brother  in  the 
war  augmented  his  desire,  and  the  war  gave  him 
every  opportunity  to  fulfil  it.     The  result  was  a 
series  of  pictures  which  were  exhibited  at  South 
Kensington  and  at  various  other  places  in  England 
and   on   the    continent.      The  English   art  critics 
were  loud  in  their  praise  (praise  since   modified 
into  "  an  able  draughtsman,  crude  in  colour  and 
thin   in   technique");   at  Vienna  he  was  greeted 
as  "  the  apostle  of  peace  and  of  humanity,"  and 
during  the   twenty-six   days    of    the   exhibition, 
there  were  94,892  paying  visitors.    At  the  author's 
request  the  show  was  prolong!  d    for  four   days, 
the  proceeds  being  devoted  to  relieving  the  poor 
of  the   town.     At  Berlin   in    1882   the  "oriental 
decoration    of    the    gallery,   the   concealed    har- 
monium and  chorus  of  war  songs,  and  the  total 
exclusion  of  daylight  in  favour  of  electric  lights, 
all  added  to  the  craze  for  his  works.   The  Emperor 
forbade   the  Guards   to  visit  the   exhibition,  lest 
they  should  come  to  regard  war  not  as  honourable, 
but  as  disgusting."    At  St.  Petersburg  during  two 
months   tliere    were   some   200,000   visitors,    and 
40,000  catalogues  were  sold.     At  the  sale  of  his 
Indian  studies   by   auction,   which   followed,  the 
collectors  of  Moscow  and  St.  Petersburg  gathered 
in  force  and  bid  against  one  another  with  great 
determination.     Wliile    his    pictures   were   being 
exhibited  and  sold,  he  was  engaged  in  a  new  work, 
adding  to  his  Indian  and  Turkestan  pictures  and 
writing  his  experiences,  assisted  in  this  latter  by 
his   wife,   who    had    accompanied   him   in   some 
of  his  travels.     In  1884  he  again  visited  India, 
and    then    Sj-ria    and     Palestine.      His    visit    to 
the  latter  place  gave  him   material   for   pictures 
illu'^trating  New  Testament  subjects.    His  realistic 
284 


picture  of  the  Holy  Family  exhibited  with  others 
at  Vienna  in  1885  was  designated  by  the  Arch- 
bishop of  that  diocese  "a  blasphemous  canvas." 
He,  himself,  destroyed  his  picture  of  the  '  Resurrec- 
tion,' to  which  strong  objection  had  been  made 
when  he  exhibited  his  pictures  at  Berlin  in  1886. 
In  October  and  November  1887  he  held  an  exhibi- 
tion under  the  distinguished  patronage  of  King 
Edward,  then  Prince  of  Wales,  and  also  lectured 
on  his  pictures.  The  exhibition  was  a  compre- 
hensive one,  and  a  critic  called  special  attention  to 
the  "capital  studies  of  the  interiors  of  the  East, 
the  rich  colour  and  forceful  treatment  of  which 
compel  us  to  overlook  a  certain  chic  and  some 
crudities  of  handling.  .  .  .  Perhaps  the  worst 
pictures  are  the  biggest."  In  1893  he  settled  at 
Moscow,  where  he  painted  his  series  of  Napoleonic 
pictures  illustrating  the  Moscow  campaign.  One 
important  feature  of  these  pictures  is  the  repre- 
sentation of  snow,  over  which  he  took  immense 
pains.  The  series  includes  interiors  ("the  bivouack- 
ing of  men,  and  the  stabling  of  horses  in  gorgeously 
decorated  churches"),  as  well  as  exteriors  and 
landscapes.  His  representations  of  Napoleon  were 
not  always  conventional,  and,  in  Paris,  objection 
was  raised  in  particular  to  the  picture  in  which 
Napoleon  appears  in  the  garb  of  a  savage.  The 
series  was  exhibited  at  the  Grafton  Galleries  in 
January  1899,  and  it  was  then  said  that  the  terrible 
incidents  were  put  before  us  with  quite  extra- 
ordinary dramatic  force  ;  and  in  addition  there  were 
a  great  number  of  highly  interesting  studies  of 
architecture,  heads  of  peasants  and  mechanics, 
landscapes  in  various  effects  of  light,  convent 
interiors,  portraits,  minor  subject  pictures  con- 
cerning the  war  in  the  Crimea,  photographs  from 
paintings  previously  shown  at  the  Grosvenor 
Gallery  and  elsewhere,  and  sketches.  In  1894  he 
went  a  trip  with  his  wife  and  daugliter  down 
the  Dwina  as  far  as  Archangel  at  its  mouth,  and 
made  a  study  of  the  wooden  churches  on  its 
banks.  In  1900  he  exhibited  at  Christiana  in 
competition  for  the  Nobel  prize,  which  he  ex- 
pected to  gain  as  an  apostle  of  peace  by  his 
pictures  of  the  horrors  of  war,  but  he  and  his 
pictures  were  very  coldly  received.  This  did  not 
prevent  him  from  going  to  China  in  1901  in  search 
of  material  for  more  war  pictures  during  the 
Japanese  campaign  against  Clnua.  In  1904  his 
sympathies  were  naturally  with  his  own  countrj'- 
men.  He  painted  '  Admiral  Alexeieff  reviewing 
the  Troops  at  Port  Arthur,'  and  his  last  picture 
was  '  Admiral  Makaroff  in  council  with  his  Ofiicers.' 
He  perished  with  Admiral  Makaroff  on  board  the 
Petropavlovsk  when  that  ship  went  down  on  April 
13,  1904.  A  sailor,  who  was  saved,  thus  describes 
the  scene:  "Smoke  rose  in  dense  clouds,  and 
flames  seemed  to  leap  towards  the  bridge.  I 
remember  falling  masts  and  then  nothing  more. 
On  our  ship  was  an  old  man  with  a  beautiful  white 
b^ard,  who  had  been  good  to  the  men.  He  had  a 
hook  in  Ids  hand,  and  seemed  writing,  perliaps 
sketching.  He  was  Vereshchagin."  His  last 
picture  went  down  with  him,  but  was  afterwards 
recovered,  practically  undamaged.  Vereshchagin 
was  a  writer  as  well  as  an  artist.  He  wrote  chiefly 
of  his  personal  experiences,  even  his  stories  partook 
of  this  character ;  and  he  illustrated  his  books 
with  his  pencil.  He  wrote  also  a  book  on  Napoleon 
I.,  which,  however,  is  not  illustrated.  A  large 
number  of  his  pictures  are  to  be  seen  in  the 
TretiakofiE  Museum  at  Moscow  ;  others  are  scattered 


PAINTERS   AND   ENGRAVERS. 


throughout  Europe  and  America.  They  are  too 
numerous  to  mention  individually.  The  following 
is  a  list  of  the  various  series,  with  a  selection  of 
the  more  famous  pictures  in  each  of  them  : 

Early  pictures  :  '  Ulysses  slaying  the  Suitors '  (de- 
stroyed); 'Towpath  of  the  Volga'  (uojinished) ; 
'  Dukhobors  chanting  the  Psalms  '  (Salon,  1866). 

Caucasian  series  :  '  Procession  in  Shusha ' ;  '  Overthrow 
of  Schamyh' 

Turkestan  series  :  '  Apotheosis  of  War '  (a  pyramid  of 
sky  Us) ;  'Emir  viewing  the  Trophies';  'Dervishes 
shouting  for  Alms';  'Tamerlane's  Grave';  'For- 
gotten '  (destroyed), 

Eusso-Turkish  War  series :  '  All  quiet  on  Shipka '  (a 
triptych);  'Victors'  and  'Vanquished'  (a  pair); 
'  Before '  and  '  After  the  Attack  '  (a  pair) ;  '  Priest 
bleasing  the  Dead  ' ;  '  Skohelieff  before  his  Troops.' 

Indian  series  (including  twelve  historical  pictures) ; 
'  The  Great  Mogul  in  the  Mosque  ' ;  '  Prince  of  Wales 
at  Jeypore  ' ;  '  Blown  from  the  Guns  ' ;  '  Winter  in 
the  Himalayas.' 

Syria  and  Palestine  series :  '  The  Holy  Family ' ; 
'  Kesiirrection '  (destroyed)  ;  '  The  Jews'  WaiUng 
Place.' 

Napoleonic  series  :  '  The  Franctireurs ' ;  '  At  Rest  in 
the  Snow  ' ;  '  Uspenski  Ch\irch,  Moscow ' ;  '  Bad 
News  from  France  ' ;  '  The  Kremlin.* 

Miscellaneous  pictures :  '  Execution  of  Nihilist ' ; 
'  Execution  at  Rome.' 

Last  pictures  :  '  Alexeieff  reviewing  Troops ' ;  '  Maka- 
.       roff  in  Council.'  ji  j^ 

VEREYCKE.     See  Veeeijcke. 

VERGARA,  Josef,  was  born  at  Valencia  in 
1726,  and  was  a  pupil  of  Evaristo  Muiioz.  He 
afterwards  followed  the  style  of  Coypel,  and 
painted  numerous  works  in  oil,  fresco,  and  tempera, 
chiefly  saints  and  portraits.  In  1754  he  became 
director  of  the  Academy  of  Santa  Barbara,  at 
Valencia,  which  had  been  founded  by  him  and 
his  brother  the  sculptor,  Ignacio  Vergara  ;  after- 
wards he  was  appointed  to  the  same  post  in  the 
Royal  Academy  of  San  Carlos,  wliich  grew  out  of 
this,  and  held  the  office  for  six  years.  He  died  in 
1799.  The  churches  in  and  around  Valencia  abound 
with  his  paintings,  among  the  best  of  which  are  a 
'Conception'  in  the  monastery  of  San  Francisco, 
and  those  executed  for  his  own  house.  His  picture 
of  '  Mentor  warning  Telemachus  against  Calypso,' 
was  accepted  at  the  Academy  of  San  Fernando, 
and  gained  his  election  as  an  Academician.  He 
left  some  MS.  notes  on  the  lives  of  Valencian 
artists,  to  which  Cean  Bermudez  acknowledges 
himself  indebted. 

VERGARA,  Nicolas  de,  the  elder,  a  Spanish 
painter  and  sculptor,  and  one  of  the  chief  artists  of 
Toledo,  was  apparently  born  in  that  city  about 
1510.  From  his  knowledge  of  drawing  and  the 
grandeur  of  his  figures,  it  is  supposed  that  lie 
studied  in  Rome.  He  was  appointed  painter 
and  sculptor  to  the  chapter  of  Toledo  in  154"2. 
Many  of  the  windows  of  the  cathedral  were  painted 
by  him  and  under  his  direction  ;  those  which  he 
left  incomplete  at  his  death  were  finished  by  his 
sons  and  scholars,  Nicolas  and  Juan  de  Vergara. 
He  was  engaged  with  Berruguete  in  superintend- 
ing the  embellishments  of  the  tomb  of  Cardinal 
Ximenes  at  Alcala  de  Henares.  For  the  cloisters 
of  Toledo  he  made  sketches  for  frescoes  of  the 
infernal  regions,  which,  however,  were  never 
executed.     He  died  at  Toledo  in  1574. 

VERGARA,  Nicolas  de,  the  younger,  was  born 
at  Toledo  about  1640.  He  was  the  son  and  pupil 
of  the  elder  artist  of  the  name.  Under  commission 
from  Philip  III.,  he,  in  1573,  prepared  the  choir 
books   for   the    Escorial,  and  together   mth  his 


brother,  Jdan  de  Vergara,  painted  the  windows 
of  Toledo  cathedral,  as  mentioned  above.  He  died 
at  Toledo  in  1606. 

VER6AZ0N,  Hendrik,  was  a  Dutch  painter  of 
landscapes  and  ruins,  who  came  to  England  in 
the  reign  of  William  III.  He  also  painted  small 
portraits,  and  was  employed  on  the  backgrounds 
(if  Sir  Godfrey  Kneller's  pictures. 

VERHAEGT,  Tobias,  (VERnA.4.GT,  Verhaecht, 
or  Van  Haecht,)  was  born  at  Antwerp  in  1566 
(in  1561,  accordini,'-  to  Mr.  A.  J.  Wauters).  It  is 
not  known  who  his  master  was,  but  he  had  acquired 
some  celebrity  as  a  landscape  painter,  when  he 
determined  to  visit  Italy  in  search  of  improvement. 
He  resided  some  time  at  Florence,  where  his  talents 
recommended  him  to  the  notice  of  the  Grand  Duke 
of  Tuscany,  for  whom  he  painted  several  large 
pictures,  including  a  'Tower  of  Babel.'  This  sub- 
ject he  repeated  more  than  once.  He  aftersvards 
visited  Rome,  where  his  works  were  held  in  no  less 
estimation.  On  his  return  to  Flanders  he  was  con- 
sidered one  of  the  ablest  landscape  painters  of  his 
time,  and  he  enjoys  the  credit  of  having  been  the 
first  master  of  Rubens.  He  was  made  free  of  the 
Antwerp  Guild  in  1590,  and  was  dean  in  1595-6. 
He  embellished  his  landscapes  with  antique  ruins 
of  which  he  had  made  many  studies  during  his 
residence  at  Rome.  The  figures  in  his  pictures 
were  put  in  by  other  hands,  particularly  by  Francks. 
He  died  in  1631.  The  only  accessible  picture  by 
him  we  can  name  is  a  '  Hunting  adventure  of 
Maximilian  I.,'  in  the  Brussels  Museum. 

VERHAGEN,  Jan.     See  Van  der  Haqen. 

VERHAGHEN,  Jan  Joseph,  painter,  called 
Pottekens  Verhaghen,  was  the  brother  and  pupil 
of  Pieter  Joseph  Verhaghen.  He  was  born  at 
Aerschot  about  1726,  and  gained  his  sobriquet  by 
his  skill  in  painting  pieces  of  earthenware  in  his 
pictures.    He  also  excelled  in  rendering  metals. 

VERHAGHEN,  Pieter  Joseph,  an  historical 
painter,  was  born  at  Aerschot  in  1728.  He  studied 
under  the  picture  restorer  Kerkhoven,  and,  in  the 
Antwerp  Academy,  under  B'-schey.  In  1753  he 
settled  at  Louvain.  In  1771  he  became  court 
painter  to  Prince  Charles  of  Lorraine,  and  was 
patronized  by  the  Empress  Maria  Theresa,  who 
supplied  him  with  means  to  travel  through  France, 
Sardinia,  and  Italy.  At  Rome  he  painted  an  '  Ecce 
Homo,'  and  'Christ  at  Emmaus,'  which  attracted 
80  much  attention,  that  the  Pope,  Clement  XIV., 
desired  to  know  the  painter.  At  an  audience, 
his  Holiness  was  so  charmed  with  his  talents  and 
modesty,  that  he  accorded  him  plenary  indulgence, 
at  the  hour  of  death,  for  himself,  his  relations 
and  connections  to  the  third  degree,  and  for  thirty 
persons  of  his  nomination.  After  painting  several 
other  pictures,  he  returned  to  Vienna,  where  he 
was  appointed  principal  painter  to  the  court.  This 
favour,  however,  did  not  induce  him  to  remain  at 
Vienna.  He  returned  to  Louvain  in  1773,  and  was 
met  by  such  a  cavalcade,  that  neither  horse  nor 
carriage,  says  his  biographer,  was  left  in  the 
city.  He  died  at  Louvain  in  1811.  Verhaghen  may 
be  considered  the  latest  continuator  of  the  prin- 
ciples of  the  Great  School  of  Antwerp.  His  pictures 
are  plentiful  in  Louvain  and  its  neighbourhood,  and 
the  two  following  are  in  public  collections: 
Antwerp.  Museum,     Abraham  and  Hagar. 

Ghent.  „  The  Presentation  in  the  Temple, 

VERHAS,  Theodor,  born  at  Heidelberg  in  1812, 
was  a  painter  of  landscapes  in  oil,  aquarelle,  and 
sepia.     His    subjects  were   often  taken   from   the 
^  285 


A   BIOGRAPHICAL  DICTIONARY  OF 


neighbourhood  of  his  native  town,  and  he  largely 

contributed  to  an  '  Album  of  Heidelberg,'  litho- 
graphed by  Leniercier.  The  S.  Kensington  Museum 
possesses  a  snow-scene  by  liini.  He  died  in  1872. 
VERHAZ,  Jan,  Belgian  painter  ;  born  at  Ter- 
monde,  January  9,  18:-i4.  From  his  father,  the 
Director  of  an  Art  School,  he  received  his  first 
instruction,  and  he  studied  at  the  Antwerp  Academy 
under  Nicaise  de  Keyser,  where  he  obtained  a 
prize  in  1853,  and  a  second  Grand  Prix  at  Brussels 
in  1860.  He  then  visited  Italy,  and  at  Venice 
piiinted  two  pictures,  '  Velleda  '  and  the  '  Bataille 
de  Callao,'  for  the  Belgian  Government.  He  then 
turned  his  attention  to  genre,  and  as  a  painter  of 
children  and  childish  episodes  became  famous. 
Among  the  works  exhibited  by  him  at  the  Paris 
Salons  we  may  mention  :  '  L'Enfant  h  T/Ombrelle,'. 
'  Cache-Cache,'  '  Le  Pot  Cass<S,'  '  La  Fete  de  Papa,' 
&c.  He  obtained  a  second-class  medal  in  1881,  a 
gold  medal  at  the  Universal  Exhibition  of  1889, 
and  the  Legion  of  Honour  in  1881.  He  died  at 
Schaarebeferke,  near  Brussels,  October  30,  1896. 

VEHHEIJDEN,  Frans  Pietersz,  was  born  at 
the  Hague  in  1657.  He  followed  the  profession  of 
a  sculptor  until  he  was  forty  years  of  age,  and  was 
employed  in  modelling  ornaments  on  the  triumphal 
arches  for  the  public  entry  of  William  III.  into 
the  Hague,  in  1691.  Having  seen  some  pictures 
of  animals  by  Frans  Snyders,  he  was  so  charmed 
with  them,  that  he  abandoned  sculpture  to  devote 
himself  to  painting.  In  this  change  of  profession 
he  was  very  successful,  although  bis  pictures  are 
little  known  out  of  Holland.  He  painted  hunts  of 
stags  and  wild  boars  in  the  style  of  Snyders,  and 
also  fowls  and  dead  game,  in  the  style  of  Hondekoe- 
ter.  He  died  at  the  Hague  in  1711.  His  son  Frans, 
also  a  painter  and  sculptor,  died  the  same  year. 

VEKHEIJDEN,  Matheus,  probably  the  son  of 
P.  P.  Verheijden,  was  born  at  Breda  in  1700,  and 
was  a  good  portrait  painter.  He  was  first  placed 
under  Hendrik  Carr6,  but  having  lost  his  father 
when  at  the  age  of  eleven,  he  was  taken  under  the 
protection  of  "rerwesten  and  Constantino  Netscher, 
and  pursued  his  studies  under  their  care.  At  the 
age  of  fifteen  he  went  to  the  Hague,  and  worked 
under  Karel  de  Moor.  He  painted  historical  and 
allegorical  subjects,  besides  portraits,  and  appears 
to  have  maintained  himself  in  comfort  by  his  art. 
He  was  still  living  in  1776.  His  portraits  aro 
unknown  out  of  Holland. 

VERHEIJEN,  Jan  Hendrik,  a  Dutch  landscape 
and  architectural  painter,  born  at  Utrecht  in  1778. 
He  began  life  as  a  notarv,  but  took  to  painting  at 
the  age  of  21.  He  died  Uth  January,  1846.  There 
are  two  pictures  by  him  in  the  Rotterdam  Museum. 
VERHELST,  Eqidids,  the  younger,  (or  Verelst,) 
was  born  at  Ettal,  in  Bavaria,  in  1742.  His  father 
was  a  sculptor,  and  for  some  years  he  followed  the 
same  profession,  practising  at  Munich,  Stuttgart, 
Augsburg,  Diisseldorf,  Mannheim,  and  other  cities. 
At  Augsburg  he  learnt  engraving  under  Rudolph 
Stiirkel.  He  was  appointed  Professor  of  Design 
to  the  Academy  of  Mannheim,  and  a  member  of 
that  of  Diisseldorf  Being  desirous,  however,  of 
further  improvement,  he  went  to  Paris,  and  placed 
himself  under  the  direction  of  J.  G.  VVille.  After 
some  stay  with  this  master,  he  returned  to  Munich, 
and  made  engravinghis  profession.  He  died  in  1818. 
His  numerous  plates  are  chiefly  portraits  of  small 
size.    Among  others,  we  mav  name  the  following  : 


Charles  Theodore,  Elector  of  Bavaria. 
Elizabeth  Augusta  his  consort. 

286 


1790. 


element  Wenceslaus,  Elector  of  Treves. 

A.  ^Y.  Ifflaud. 

Five  plates  for  a  Translation    of   Tasso's   '  Jerusalem 

Delivered.* 
Two  Heads, '  Innocence  and  Simplicity,'  for  Lavater. 

VERHEYDEN.     See  Vekheijden. 

VERHOEK,  GiJSBERT,  (or  Gilbert,)  was  born 
at  Boodegrave  in  1644 ;  he  was  the  younger 
brother  and  pupil  of  Pieter  Cornells  Verhoek,  and 
also  studied  under  Adam  Pynaker.  He  painted 
similar  subjects,  however,  to  those  of  his  brother, 
namely,  battles,  marches  of  cavalry,  and  encamp- 
ments, and  particularly  excelled  in  drawing  horses. 
The  works  of  Verhoek  are  frequently  encountered 
in  Holland,  though  little  known  in  this  country. 
He  died  in  1690. 

VERHOEK,  Pieter  Cornelis,  a  Dutch  painter, 
was  born  at  Boodegrave  in  1633.  He  first  studied 
under  Jacob  Van  der  Ulft,  as  a  painter  on  glass. 
He  then  became  a  disciple  of  Abraham  Hondius, 
and  afterwards  travelled  in  Italy,  where  he  studied 
Borgognone,  and  distinguished  himself  as  a  painter 
of  battles  and  cavalry  skirmishes.  He  also  painted 
landscapes  in  a  pleasing  style,  which  he  decorated 
with  figures  in  the  manner  of  Callot.  He  died  at 
Amsterdam  in  1702.  A  certain  Cornelis  Verhdik, 
given  by  Kramm  as  a  separate  artist,  and  as  having 
been  born  at  Rotterdam  in  1648,  seems  to  be 
identical  with  the  above. 

VERHOEVEN,  Jan,  a  Flemish  painter,  born 
about  1600,  at  Mechlin,  was  the  son  of  Gillis  Ver- 
hoeven,  a  painter  and  sculptor,  and  the  pupil  of 
one  Nicholas  van  Ophem.  He  was  admitted  into 
the  Corporation  of  Painters  in  1642,  became  dean 
in  1669,  and  was  still  living  in  1676.  He  was  the 
rival  and  persistent  enemy  of  Lucas  Franchoys  the 
younger.  There  are  three  portrait  pieces  by  him 
in  the  museum  at  Mechlin,  where  several  churches 
also  have  works  from  hie  hand. 

VERHUIJK,  Cornelis,  (Verhuyk,  Verhdits, 
&c.).     See  Verhoek,  Pieter  Cornelis. 

VERHULST,  Pieter,  a  native  of  Dordrecht, 
painted  fruit,  flowers,  and  insects,  in  the  manner 
of  Van  Schrieck  (Otto  Marcellis).  He  was  a  scholar 
of  Willem  Doudyns,  which  is  all  we  know  of  him. 

VERHULST,  Charles  Pierre,  a  painter  of  por- 
traits, interiors,  &c.,  was  born  in  1775  at  Mechlin. 
He  studied  in  the  school  of  that  city,  and  afterwards 
became  a  professor  at  the  Brussels  Academy.  He 
died  in  1820.  He  painted  portraits  of  the  King  of 
Holland  and  the  Prince  of  Orange. 

VERHUNNEMANN,  Annekin,  a  pupil  of  Mem- 
line,  who  entered  the  Guild  of  S.  Luke  at  Bruges 
in  1480.     No  further  details  of  his  life  are  known. 

VERKOLJE,  Johannes,  (Verkolye,  or  Vee- 
KOLIE,)  born  at  Amsterdam  in  1660,  was  the  son 
of  a  locksmith,  who  brought  him  up  to  his  own 
trade.  But  the  boy  having,  when  about  twelve 
years  of  age,  met  with  an  accident  which  confined 
iiim  for  three  years  to  his  bed,  he  amused  himself 
with  copying  whatever  prints  or  other  objects  of 
art  he  could  procure.  After  his  recovery  he  was 
permitted  to  follow  this  up,  and  he  became  a  pupil 
of  Jan  Elevens,  by  whose  instruction  he  was  in 
six  months  sufficiently  advanced  to  dispense  with 
further  assistance.  The  works  of  Gerard  Pietersz 
van  Zijl  were  at  that  time  in  high  esteem,  and 
Verkolje  endeavoured  to  imitate  his  highly-finished 
manner.  He  was  chiefly  employed  on  portraits  of 
a  small  size,  though  he  occasionally  produced  his- 
torical subjects  and  conversations,  which  were 
pleasant  in  colour,  and  touched  with  delicacy.  In 
1672  he  settled  at  Delft,  after  which  he  worked 


JOHANNES  VERMEER  OF   DELFT 


\^l^ijk^  Musr/iin^  A unU-rdaii 


THE  LETTKR 


PAINTERS   AND   ENGRAVERS. 


much   at   engraving.  He  died  at  Delft   in   May, 
1693.     Works: 

Amsterdam.       Sluseum.  The  Family  Concert.     1673. 

Dresden.  Gallery.  The  Tnmipeter  and  the  Lady. 

Paris.  Louvre.  Mother  wfth  Infant  in  Arms. 

Petersburg.    Hermitage.  An  Entertainment. 

Eotterdam.        Museutn.  The  Sportsman. 

„  „  Venns  and  Adonis. 

The  Messenger.    (Baron  A .  de  Rothschild.) 

Jan  Verkoljewas  one  of  the  earliest  mezzotinters 
in  Holland.  The  following  prints  by  him  may  be 
named : 

William  III.      |      "WiUiam  Henry,  Prince  of  Orange. 

Stephen  Wolters,  Amator  Artium;  after  Kneller. 

Hortensia  Mancini,  Duchess  of  Mazarin  ;  after  Lely. 

His  own  Portrait ;  after  De  Leevw. 

Diana  and  Calisto  ;  after  Casp.  Netscher. 

Venus  and  Adonis  ;  after  his  own  picture. 

Venus  and  Cupid.     1682.      |      Pan  and  Flora. 

VERKOLJE,  NicoLAAs,  the  son  and  disciple  of 
Johannes  Verkolje,  was  born  at  Delft  in  1673.  His 
father  died  when  he  was  twenty  years  of  age,  but 
he  had  made  sufficient  progress  to  do  without  the 
aid  of  another  master.  For  some  time  he  painted 
small  portraits  and  domestic  subjects  in  the  style 
of  his  father,  but  he  afterwards  applied  himself  to 
historical  painting  in  the  manner  of  Van  der  WerfE. 
He  died  at  Amsterdam  in  1746.  The  Rijks  Museum, 
at  Amsterdam,  has  a  portrait  by  him  of  the  Dutch 
physician,  Anthony  van  Leeuwenhoek  ;  and  in  the 
Louvre  there  is  a  '  Proserpine  gathering  flowers  in 
the  fields  of  Enna.'  Nicolaas  Verkolje  also  distin- 
guished himself  as  a  draughtsman  in  black  and 
white,  and  as  a  mezzotint  engraver.  The  follow- 
ing are  his  principal  plates  ;  they  surpass  those  uf 
his  father : 

Bernard  Picart ;  after  Nattier. 

Jan  Pieter  van  Zomer  ;  after  A.  Boonen. 

The  Holy  Family  ;  after  Ad.  van  der  Werff. 

Diana  and  Endymion  ;  after  Cas.  Netscher, 

Bacchus  and  Ariadne  ;  after  the  same. 

A  Shepherd  and  Shepherdess  ;  after  the  same. 

An  Entertainment  in  a  Garden  ;  after  J.  B.  JVeenix. 

VERKRUYS,  Theodoor,  called  in  Italy  Della 
Croce,  was  a  Dutch  engraver,  who  resided  chiefly 
in  Italy.  He  flourished  about  the  beginning  of  the 
18th  century,  and  engraved  some  plates  from  pic- 
tures in  the  Florentine  galleries  ;  some  views  of 
sea-ports,  after  Salvator  Rosa  ;  and  several  por- 
traits. 

VERLA,  Francesco,  (or  Verlo,)  of  Vicenza,  was 
a  third-rate  scholar  of  Squarcione,  and  lived  in 
the  early  part  of  the  16th  century.  In  the  Brera 
at  Milan  is  a  '  Virgin  and  Child,'  painted  by  him, 
dated  1511.  A  picture  by  him  at  Schio  is  inscribed 
Francisciis  Verbis  de  Vicentia  pinxit  XX  Junii 
MDXII.  Another  work  of  his  is  at  Sercedo.  It 
is  probable  that  Francesco  Veruzio,  of  Vicenza, 
mentioned  by  Vasari,  is  identical  with  Verla,  and 
that  Vasari's  mistake  arose  from  his  misapprehen- 
sion of  the  diminutive,  Verlucio,  Verluzo,  in  the 
Venetian  dialect.  The  dates  of  Verla's  birth  and 
death  are  unknown. 

VERLAT,  Michel  Charles,  Flemish  painter ; 
born  at  Antwerp,  November  25,  1824  ;  became  a 
pupil  of  Wappers  and  of  N.  de  Keyzer  ;  studied 
in  Paris,  where  he  was  powerfully  influenced  by 
Courbet ;  became  Director  of  the  Weimar  Art 
School  in  1869  ;  afterwards  professor  at  the  Ant- 
werp Academy,  being  appointed  its  Director  in 
1885  ;  he  takes  a  high  rank  as  an  animal  painter, 
though  he  painted  Oriental  subjects  and  portraits 
with   success.     He   obtained    a   Paris   third-class 


medal  in  1853,  a  second-class  ditto  in  1855  and 
1861,  a  first-class  ditto  in  1878,  and  the  Legion 
of  Honour  in  1868.  He  died  at  Antwerp,  October 
23,  1890. 

VERLINDE,  Pierre  Antuine  Augustin,  a 
French  painter,  born  at  Bergues-Saint-Winoc, 
January  20,  1801.  After  studying  for  a  time 
under  Qudrin,  in  Paris,  he  became  the  pnpil  of 
Ducq  and  of  Van  Br^e,  and  settled  in  Belgium. 
He  painted  portraits,  historical  subjects,  and  pano- 
ramas, and  io  1829  became  Professor  at  the  Academy 
of  Antwerp,  in  which  city  he  died  on  March  29th, 
1877. 

VERMAY,  Jean  Baptiste,  French  painter;  born 
in  Paris  before  1790,  where  he  became  a  pupil  of 
David  ;  emigrated  to  Havana  and  became  a  Pro- 
fessor and  Director  of  the  Academy  there.  A 
picture  of  his,  '  Saint  Louis  en  Egypte,'  in  the 
Angers  Museum,  and  others  painted  in  the  early 
period  of  his  career  are,  '  Marie  Stuart,'  '  Qneen 
Elizabeth,'  and  '  Diane  de  Poitiers.'  He  died  of 
cholera  at  Havana  in  1833. 

VERMEEK  (or  Van  der  Meer)  op  DELFT, 
Johannes,  was  born  at  Delft,  where  he  was 
baptized  on  October  31,  1632  ;  at  Delft,  on 
December  13,  1675,  he  died.  For  discovery  of  the 
few  facts  recorded  of  his  life  we  are  chiefly 
indebted  to  M.  Henri  Havard,  who  in  1877  searched 
the  archives  of  Delft,  and  elsewhere  sought  in- 
formation. Of  his  father,  Reynier  Vernieer, 
nothing  save  the  name  is  known,  nor  of  his  mother, 
Dingnura  Balthasara  ;  but  Havard  suggests  that 
one  of  his  sponsors,  entered  in  the  register  as 
Pieter  Brannner,  was  brother  of  Leonard  Bramer, 
the  Delft  painter.  On  April  6,  1663,  Jan  Verraeer 
— to  give  the  Christian  name  as  ordinarily  con- 
tracteil — then  living  in  the  Market,  married 
Catharina  Bolenes,  of  the  same  vicinage.  Eight 
montlis  later,  on  December  29,  1653,  he  was 
inscribed  as  master-painter  in  tlie  books  of  tlie 
Guild  of  St.  Luke  ;  hence,  as  apprenticeship  lasted 
at  least  six  years,  he  must  have  been  bound 
not  later  than  1647,  at  the  age  of  fifteen.  Almost 
certainly  he  was  poor,  for  a  balauce  of  four  gulden 
ten  stuy  vers  remained  owing  on  the  mastership  fee 
of  six  gulden — an  insignificant  sum  even  in  those 
days — till  July  24,  1656,  the  year  of  his  only  dated 
picture,  'The  Courtesan.'      In   1662,  1663,   1670, 

and  1671  he  was  one  of  the  headmen  of  the  Guild. 
Biirger,  basing  his  opinion  upon  apparent  re- 
semblances between  works  of  the  two  painters,  not 
least  on  a  similarity  of  composition  between  '  The 
Courtesan'  (1656)  and  'The  Syndics'  (1661)— 
overlooking  the  fact  surely  that  the  picture  by  the 
supposed  pupil  is  the  earlier — held  that  on  the  death 
of  Karel  Fabritius  at  Delft  in  1654,  Vermeer 
became  a  pupil  of  Rembrandt  at  Amsterdam. 
This  theory,  however,  is  unsupported  by  evidence, 
and  appears  improbable.  As  will  be  noted,  there 
is  almost  contemporaneous  mention  of  Vermeer's 
pupilage  to  Fabritius.     Havard  contends  that,  oa 

287 


A   BIOGRAPHICAL  DICTIONARY  OF 


the  death  of  Fabritius,  Leonard  Bramer  became  his 
master.  In  support,  he  guesses  that  that  artist 
was  brotlier  of  one  of  Vermeer's  sponsura,  and 
points  out  that  Jan,  tliough  but  tliirty,  of  humble 
extraction  and  without  fortune,  succeeded  Bramer 
as  a  headman  of  the  Guild  in  16i;'2.  At  Ijis 
house  on  the  Guile  Lan.;dick,  Delft,  Vermeer 
died,  aged  forty-three,  and  was  buried  in  the  old 
church.  lie  left  eight  children,  all  minors.  Tlie 
municipal  record  is  meagre  enough,  but  that 
during  his  lifetime  Vermeer  was  held  in  repute  is 
certain.  Arnold  Bon,  a  would-be  poet  who 
memorialized  the  death  of  Fabritius,  hailed 
Vermeer  as  a  possible  successor  of  that  "  phcenix." 
Dirk  van  Bleyswijck,  in  his  rapid  survey  of 
illustrious  townsmen  in  the  big  '  Description  of 
Delft'  (1G67),  mentions  reticently  about  thirty 
artists,  among  them  "  Karel  Fabritius  and  his 
pupil  Johannes  Vermeer,"  though  Jan  was  a 
relatively  young  man.  Balthasar  de  Monconys,  an 
amateur  of  painting,  visited  Delft  in  1663,  and  on 
August  11  sought  the  studio  of  Vermeer.  No 
pictures  were  there  ;  but  one,  of  a  single  figure, 
was  found  at  a  baker's,  it  having  cost  no  less  than 
600  livres,  to  the  surprise  of  Monconys,  who 
valued  it  at  six  pistoles.  On  Maj'  16,  1696, 
twenty-one  of  his  works  were  publicly  sold  in 
Amsterdam — auctions  were  held  there  as  early  as 
1604 — and  the  prices  realized  indicate  that  his 
name  was  far  from  unknown.  At  least  three  of 
the  pictures  are  still  in  Holland  :  the  celebrated 
'  View  of  Delft,'  now  in  the  Mauritzhuis,  which 
made  the  highest  sum  of  any — 200florins — it  being 
bought  by  the  Government  in  1822  for  2900 
florins;  'The  Milk  Woman'  and  the  'Old  Delft 
House,'  valued  at  175  and  72  florins  respectively, 
both  now  in  the  Six  Collection,  Amsterdam. 
About  this  time  a  work  by  De  Hooch  is  said  to 
have  been  praised  as  ''  nearly  equ:d  to  the  famous 
Van  derMeer."  But  total  eclipse  followed.  Soon  all 
memory  of  Vermeer  of  Delft  seems  to  have  lapsed. 
In  1719,  Houbraken,  over-generous  in  his  estimate 
of  many  mediocre  painters,  does  not  allude  to  him, 
though  he  mentions  Vermeer  of  Utrecht ;  and  so 
with  Campo  Weyermann  in  1729,  with  Van  Goll  in 
1751.  Reynolds  was  among  the  first  specifically 
to  re-direct  attention  to  a  picture  by  the  master. 
In  'A  Journey  to  Flanders  and  Holland'  (1781) 
Sir  Joshna  noted,  in  the  cabinet  of  M.  de  Bruyn, 
"  A  woman  pouring  milk  from  one  vessel  to 
another,  by  D.  Vandermeere,"  the  masterly  work  in 
the  Six  Collection,  of  course,  bought  at  Jacob  de 
Bruyn's  sale  (1798)  for  2126  florins.  As  he  points 
out,  the  bare  allusion,  even  without  an  epithet, 
implies  excellence.  In  1816  two  Dutch  writers 
attempted  to  disengage  the  pictures  of  the 
several  Vermeers,  but  inasmuch  as  they  accepted 
the  already-mentioned  Amsterdam  sale  catalogue 
of  1696  as  sufficient  evidence  that  the  Delft  artist 
died  there  in  that  year,  they  achieved  little.  It 
is  strange  that  Fromentin,  in  '  Les  Maitres 
d'Autrefoia,'  says  no  more  than  that  Vermeer  is  un- 
known in  France.  Yet  it  is  to  the  French  critic, 
Thor^,  writing  as  "  VV.  Burger,"  that  belongs  the 
credit  of  having  rescued  Vermeer  from  an 
oblivion  that  soon  or  late  must  have  lifted. 
Impressed  with  the  force  and  sovereign  beauty  of 
the  '  View  of  Delft,'  which  retains  the  artist's 
monogram  on  the  boat,  he  began  a  systematic 
search  for  other  examples.  Since  1866,  when  in 
the  'Gazette  des  Beaux  Arts'  Burger  championed 
the  cause  of  Vermeer,  and  published  a  list  of 
288 


seventy-three  pictures,  which,  with  more  or  leas 
confidence,  he  attributed  to  him — as  a  fact,  works 
by  De  Hooch,  Jan  Steen,  and  the  other  Vermeers 
are  included — his  repute  has  steadily  increased,  till 
now  he  is  accorded  a  prominent,  perhaps  a  fore- 
most, place  among  the  Little  Masters  of  Holland. 
For  long  there  has  been  no  need,  as  was  once  the 
practice,  to  substitute  for  his  name  that  of  De 
Hooch  in  order  to  effect  a  sale  at  a  high  price. 
Although  the  exquisite  portrait  bequeathed  in  1903 
to  the  Mauritzhuis  made  only  2.30  florins  at  an 
auction  in  the  Hague  in  1878,  juctures  by  Vermeer 
are  in  general  costly  and  exceedingly  rare. 

He  painted  landscapes,  town  views,  groups, 
interiors  with  one  or  more  figures.  The  signatures 
vary.  For  instance,  in  the  '  Old  Delft  House ' 
of  the  Six  Gallerj',  probably  early,  the  I  is 
separate,  the  V  is  joined  to  the  M,  whose  first 
stroke  completes  it.  In  the  '  View  of  Delft'  and 
'The  Courtesan'  there  is  simply  an  arrow-head 
placed  under  the  first  stroke  of  the  M.  The  most 
usual  form,  unquestionably  adopted  later,  to  be 
found  in  '  The  Milk  Woman,"  The  Pearl  Necklace,' 
and  other  interiors  with  one,  two,  or  three  figures, 
is  the  introduction  of  the  1  between  the  middle 
V-forra  of  the  M. 


::)\M. 


r  y 


M 


cer 


\.y^cc-n 


I  \M  w^^ 


.^J?|. 


Twice  onlj',  and  early  in  his  career,  is  he  known 
to  have  painted  figures  approximating  to  the  scale 
of  life  :  in  'The  Courtesan'  and  in  'Christ  with 
Martha  and  Mary,'  discovered  in  England  in  1900, 
and  interesting  as  his  only  known  work  on  a 
sacred  subject,  for  'A  New  Testament  Allegory' 
cannot  so  be  classed.  Technically,  he  was  as 
finely  equipped  as  the  best  of  the  Little  Dutchmen  ; 
moreover,  he  had  a  most  rare  quality  of  vision. 
Biirger  called  him  the  Sphinx  of  Delft  because  of 
his  mystifyingly  diverse  manners  ;  but  it  is  not 
impossible  to  trace  the  stages  of  his  development. 
'  The  Courtesan '  is  a  triumphant  essay  in  the 
decorative  use  of  figures — even  the  faces  conform 
to  a  pattern— wonderfully  spaced,  audaciously 
original  in  colour.  Dramatically  knit  it  is  not, 
nor  is  the  'Christ'  picture.  Later,  single  figures 
took  the  place  of  groups,  and  here  Vermeer  became 
an  inimitable  weaver  of  spells,  abiding  if  elusive. 
'The  Milk  Woman,'  atonce  profoundly  sane  and  pro- 
foundly discerned,  is  a  link  between  the  groups  and 
works  such  as  'The  Pearl  Necklace,'  wherein 
Vermeer  seeks  to  be  the  interpreter  not  so  much 
of  light  as  of  the  illumining  spirit.  He  seems 
to  have  apprehended  life  in  terms  of  serene  yet 
radiant  light — light  which,  as  a  benediction,  as  a 
"vibration  of  peace  that  beats  in  every  heart," 
silences  all  drama  save  that  of  the  soul.     Vermeer 


JOHANNES  VERMEER  OF  DELFT 


Hanptafigl  t>hoto\ 


[  n  indsor  Castle 


THE  MUSIC   LESSON 


PAINTERS  AND  ENGRAVERS. 


refines,  purifies,  uplifts  our  sense  of  life.  None 
shared  his  way  of  approach.  By  genius  of  sight 
even  more  than  of  hand  he  is  isolated.  As  an  in- 
depenient  colourist,  relating  rich  vermilion  to 
light  lemon  or  playing  subtly  with  blue  and  pale 
gold,  as  a  technician  adding  dot  to  luminous  dot 
and  so  enriching  surfaces  for  his  special  purpose, 
as  a  desigHi-T  making  personal  use  of  rectangular 
maps  and  pictures,  of  lion-headed  chairs,  of  square- 
tiled  floorstocircumstancegraciousfigures,  V'ernieer 
has  a  distinctive  place.  But  the  essence  of  his  art, 
that  towards  which  from  the  first  he  seemed  to  be 
feeling  his  way,  lies  deeper.  He  had  a  nostalgia  for 
the  interpretation  of  a  visioned  beauty  which  en- 
abled him  almost  to  capture  the  spirit  of  light,  of 
music,  on  the  wing  :  "all  art  resolves  into  music." 
Confucius  said  that  all  painting  is  in  the  sequence 
of  white.  Vermeer  dreamed  of  evoking  a  space  of 
sun-lighted  gre3'8,  gradated  so  intimately  as  to 
suggest  unfolding  joy  no  less  than  peace,  creation 
no  less  than  repose.  It  was  in  such  an  atmosphere, 
informed  by  a  spirit  of  imperishable  beauty, 
that  human  life,  in  the  vision  of  Vermeer  of 
Delft,  was  sustained.  His  pictorial  properties  are 
fascinating  ;  the  mood  by  wliich  liis  finest 
pictures  are  interpenetrated  is  solitary  in  art. 
Works : 


Amsterdam,     Rijks  Mus. 
,,  Six  Coll. 


Berlin. 

Brunswick. 

Dresden. 

Hague. 


Museum. 

Museum, 

Gallery. 

,, 
Mauritzhuis. 


„  Dr.  BreJius. 

London.      National  Gall. 

„      £{schoffsheim  Coll. 

„  Mrs.  Joseph. 

Paris.  Louvre. 

„  M.  Kann. 

Vienna.  Czemin  Coll. 
Wemyss  Bay.  If.  A. 

Coats. 
Windsor  Castle. 


Girl  reading  letter. 
House  in  Delft. 
Woman  pouring  out  milk. 
Girl  with  pearl  necklace. 
Girl  drinking.    {Two  jigures.) 
Girl  with  wine-glass.    (Three 

jigures.) 
The  Courtesan.  (Four  jigures; 

dated  1656.) 
Girl  reading  by  window. 
View  of  Delft. 
To  let  of  Diana.     (Five  jigs.) 
Portrait  of  youth. 
New  Testament  Allegory. 
Lady  at  spinet. 
Lady  with  a  guitar. 
Soldier  and  laughing  girl. 
The  lace-worker. 
The  cook  asleep. 
Vermeer  in  his  studio. 

[  Christ  with  Martha  and  M  ary. 
F.R. 


The  music  lesson. 


VERMEERSCH,  Ivo  Ambros,  was  bom  at  Mal- 
deghem,  near  Ghent,  in  1810.  When  a  boy  be 
used  to  draw  the  old  houses  of  his  birthplace, 
and  after  a  term  of  military  service,  he  studied 
for  an  architectural  painter  under  P.  F.  de  Notcr 
at  the  Academy.  In  1841  he  moved  to  Munich, 
whence  he  made  repeated  tours  in  Italy.  He  died 
in  1852.  Among  his  best  pictures  are  views  of 
the  Fish  Market  and  of  churches  and  ruins  in 
Ghent,  of  the  Market  Place  of  Brunswick,  and  of 
various  corners  in  Bruges,  Venice,  Verona,  &c. 
Several  of  his  pictures  are  in  the  New  Pinacothek 
at  Munich. 

VERMEIJEN,  Hendbik.  This  painter  is  be- 
lieved to  have  been  the  son  of  Jan  Cornelis  Ver- 
raeijen.  He  settled  at  Cambrai,  and  became  the 
ancestor  of  a  long  line  of  second-rate  artists. 

VERMEIJEN,  Jan  Cornelis,  (Vermeten,  Ver- 
MAYEN,  Vermey,) — Called  'Juan  de  Mayo'  or 
'  Majo,'  '  Hans  May  '  or  '  Jan  May,'  '  El  Barbudo  ' 
or  '  Barbato,'  and  '  De  Barbalonga' — was  born  at 
Beverwijck,  near  Haarlem,  about  1500.  He  was 
probably  the  pupil  of  his  father,  Cornelis  Ver- 
MEUEN,  who  flourished  in  1490.  His  work  seems 
VOL.  V,  u 


to  show  that  he  visited  Italy,  and  studied  Raphael. 
In  1529  he  was  at  Cambrai,  in  the  service  of  Mar- 
garet of  Austria,  aunt  of  Charles  V.  At  her  death, 
his  ability  recommended  him  (1534)  to  the  pro- 
tection of  Charles  V.,  whom  he  attended  in  many 
of  his  expeditions.  In  1535  he  was  present,  as 
engineer  as  well  as  artist,  at  the  taking  of  Tunis, 
where  he  made  sketches  of  the  most  remarkable 
events  of  the  siege,  from  which  he  executed  the 
cartoons  for  a  suite  of  tapestry  now  in  the  Palace 
at  Madrid.  The  sketches  are  now  in  the  possession 
of  Queen  Victoria ;  the  cartoons  are  in  the  Bel- 
vedere. A  second  suite  often  tapestries,  two  being 
omitted,  was  made  from  these  cartoons  in  1712,  for 
the  Emperor  Charles  VI.,  and  are  now  at  Sclion- 
brunn.  He  afterwards  accompanied  Charles  to 
Naples,  Germany,  and  Flanders.  Towards  the 
latter  part  of  his  life  he  principally  worked  at 
Brussels  and  at  Arras,  where  be  painted  pictures 
for  the  churches  and  public  buildings,  which  are 
favourably  mentioned  by  Van  Mander.  Tliey  were 
destroyed  by  the  Iconoclasts.  Prof.  A.  J.  Wauters 
lately  discovered  three  oil  pictures  in  the  Marchese 
Mansi's  Gallery  at  Lucca,  which  he  ascribes  to 
Vermeijen.  They  are  similar  to  three  of  the  above- 
named  cartoons,  and  represent  the  'Taking  of 
Tunis,'  the  '  Battle  of  Pavia,'  and  the  '  Taking  of 
Rome.'     He  died  at  Brussels  in  1559. 

Vermeijen's  talents  were  distributed  over  his- 
torical subjects,  portraiture,  and  landscape.  He 
was  also  well  skilled  in  mathematics  and  archi- 
tecture. Many  of  the  pictures  he  painted  for 
I'harles  V.  are  supposed  to  have  perished  in  the 
fire  at  the  Prado  in  1608.  He  was  also  remark- 
able for  the  length  of  his  beard  I  This,  though 
the  wearer  was  a  tall  man,  used  to  trail  on  the 
efround,  and  the  Emperor,  when  in  a  phiyful  mood, 
would  condescend  to  tread  upon  it  I  Hence  the 
names  of  Barbudo,  Hans  with  the  Beard.  &c. 

Vermeijen  was  an  engraver.  Brulliot  describes 
four  of  his  etchings.     He  also  gives  his  cipher, 

thus,  ^  ,   which  properly  signifies  Jean  Cornelisz, 

and  is  to  be  found  on  the  following  prints : 

The  Virgin  and  Infant  accompanied  by  an  Angel.  1545. 
A   Man   duped ;    composition    of    several    half-length 

figures.     At  the  bottom  is  inscribed.  Sic  Hispntia  Ve^ 

mis   loculos  excanfat  amando^  sic  fucata  rapit  bastia 

Stultus  a77ians.   1545. 
A  young  Woman  with  a  Cat,  half-length  profile,    1546. 
A  young  Woman  seated  on  a  Couch,  apparently  sewing. 

1545. 

We  may  also  name : 

Philip  II.  of  Spain.     (Philippus  Hex  Anijlonim.) 

„  „  (Equestrian  portrait.) 

Henry  II.  of  France.    1555. 
Venus  and  Cupid. 

VERMEULEN,  Andries,  painter,  and  son  of 
Ciirnelis  Vermeulen  the  younger,  was  bom  at 
Dordrecht  in  1763,  and  instructed  by  his  father, 
llis  subjects  were  landscapes  with  figures,  horses, 
and  cattle.  He  also  painted  wrater  scenes,  with 
figures  skating  and  otherwise  amusing  themselves 
on  the  frozen  canals  of  Holland.  He  died  at 
Amsterdam  in  1814.  The  Rijks  Museum  and  the 
Copenhagen  Gallery  have  some  winter  scenes  by 
him. 

VERMEULEN,  Cornelis,  the  elder,  a  Flemish 
engraver,  was  bom  at  Antwerp  in  1644.  In  the 
early  part  of  his  life  he  passed  some  time  in  France, 
but  afterwards  chiefly  resided  in  his  native  city. 
There  he  engraved  many  plates,  of  which  the  best. 

289 


A  BIOGRAPHICAL  DICTIONARY  OF 


are  his  portraits,  for  his  drawing  was  not  sufficiently 
correct  for  success  in  historical  subjects.  He  worked 
entirely  with  the  graver,  in  a  neat,  clear  style. 
His  death  occurred  at  Antwerp  in  1710.  The 
following  are  his  best  prints: 

Anne  Boleyn  ;  engraved  for  I.  de  Larrei/s  History  of 
England,  Scotland,  and  Ireland. 

Catherine  Howard  ;  fur  the  same. 

Catherine  Parr  ;  for  the  same. 

Lady  Jane  Grey ;  for  the  same. 

Eobert,  Earl  of  Leicester ;  for  the  same. 

Oliver  Cromwell  ;  for  the  same. 

■William  III. ;  for  the  same. 

Marie  Loui.se  of  Orleans ;  after  Eigaud. 

Louis  de  Luxembourg,  Marshal  of  France  ;  after  the' 
same. 

Philip  V.  of  Spain  ;  after  Vivien. 

Maximilian  Emanuel,  Elector  of  Bavaria ;  after  the 
same. 

Marie  Louise  de  Tassis ;  after  Van  Dyck. 

Nicolas  Van  der  Borcht ;  after  the  same. 

Pierre  Mignard,  Painter ;  from  a  picture  by  himself. 

Bacchus  and  Erigone ;  after  Guido  ;  for  the  '  Crozat  Col- 
lection.' 

Marie  de  Medicis  escaping  from  the  city  of  Blois ;  after 
the  picture  by  Rubens,  in  the  Louvre. 

VERMEULEN,  Cornelis,  the  younger,  father  of 
Andries  Vermeuleu,  was  born  at  Dordrecht  in  1732, 
and  was  an  ornamental  painter  and  picture  dealer. 
He  copied  many  pictures  of  the  older  Dutch 
masters,  and  died  at  Dordrecht  in  1813. 

VERMEYEN.     See  Vermeijen. 

VERMIGLIO,  Giuseppe,  was  a  native  of  Turin, 
and  flourished  about  the  year  1676.  He  painted 
pictures  for  the  churches  and  public  buildings  at 
Novara  and  Alessandria,  but  his  best  work  is  a 
large  '  Daniel  in  the  Den  of  Lions,'  in  the  Biblioteca 
Delia  Passione  at  Milan. 

VERMONT,  Hyacinthe  Colin  de,  was  born  at 
Versailles  in  1693.  He  studied  under  Rigaud,  and 
in  1727  was  admitted  to  the  Academy,  of  which 
he  afterwards  became  a  professor.  He  died  at 
Versailles  in  1761.     Among  his  best  pictures  are: 

The  Presentation  in  the  Temple.  (St.  Lotus,  Versailles.) 
Cleopatra  at  the  feet  of  Augustus. 

VERNANSAL,  Guy  Louis,  a  French  painter, 
was  born  at  Fontainebleau  in  1648.  He  was  a 
pupil  of  Lebrun,  and  the  master  of  N.  Bertin.  He 
became  an  Academician  in  1687,  and  his  reception 
picture,  '  The  Extinction  of  Heresy  in  France,'  is 
now  at  Versailles.  In  1704  he  was  appointed  a 
professor.  Pictures  by  him  are  in  the  museums  of 
Angers,  Orleans,  and  Rennes.  He  worked  much 
in  Italy,  especially  at  Padua  and  in  Rome.  He 
died  in  Paris,  April  9,  1729.  His  son,  Jacques 
Franqois,  was  his  pupil  and  assistant. 

VERNET,  Antoine,  a  decorative  painter,  born 
at  Avignon  in  1689,  is  chiefly  remembered  as  the 
father  of  Joseph  Vernet.  Of  his  twenty-two  children 
four  were  painters.  The  Mus^e  Calvet,  at  Avig- 
non, has  a  study  of  flowers  and  birds  by  him.  He 
died  at  Avignon  in  175.3. 

VERNET,  Antoine  Charles  Horace,  generally 
known  as  Carle  Vernet,  was  the  son  of  Claude 
Joseph  Vernet,  and  was  born  at  Bordeaux  in  1768. 
He  drew  horses  when  quite  a  child,  and  studied 
painting  under  the  instruction  of  his  father  and  of 
Lepicier.  At  the  age  of  twenty-one  he  obtained 
the  second  prize  at  the  Academy  of  Painting,  and 
three  years  later  the  grand  prize  of  Rome.  In 
Italy,  after  a  period  of  dissipation,  he  threatened 
to  become  a  monk,  so  that  his  father  recalled 
him   to   France.     Returning   with    vigour   to   his 

290 


negleoted  art,  he  produced  a  painting  of '  The  Tri- 
umph of  Paulus  .^milius,'  which  in  1788  procured 
his  admission  to  the  Academy.  He  now  devoted 
himself  anew  to  the  horse,  and  his  works  were 
mainly  concerned  with  that  animal.  His  father's 
popularity  in  Paris  society  opened  many  good 
houses  to  the  young  painter.  He  became  the 
friend  of  the  Marquis  de  Villette  and  the  Comte 
de  Lauragnais,  and  with  them  set  the  fashion  of 
'  Anglomania,'  and  popularized  horse-racing  in 
France.  On  the  outbreak  of  the  Revolution  his 
sympathies  were  at  first  on  the  side  of  the  people. 
But  flying  with  his  wife  and  children  across  the 
Place  du  Carrousel  on  the  10th  August,  he  was 
wounded  by  a  ball  in  the  hand.  This,  followed  by 
the  loss  of  a  sister  upon  the  scaffold,  gave  him  a 
shock  from  which  he  only  recovered  upon  the 
establishment  of  the  Directory.  At  this  period  he 
created  the  famous  types  of  the  '  Merveilleux '  and 
'  Incroyable.'  Forsaking  the  classic  style  he  then 
took  to  military  subjects,  and  his  '  Morning  of  Aus- 
terlitz  '  in  1808  procured  him  the  Legion  of  Honour. 
In  1810  he  was  admitted  a  member  of  the  Institute. 
During  the  Restoration  he  painted  hunting  scenes, 
horse-races,  and  also  landscapes,  portraits,  and 
comic  subjects.  He  also  executed  numerous  litho- 
graphs and  drawings,  among  the  latter  those  from 
the  Italian  campaigns,  which  were  engraved  by 
Duplessis-Bertaux.  Carle  Vernet  died  in  Paris 
November  28,  1836.  The  following  may  be  cited 
among  his  principal  paintings  : 

The  Battle  of  Marengo.     ( Versailles.) 
The  Morning  of  Austerlitz.     1808. 
Napoleon  before  Madrid.     1810. 
The  Taking  of  Pampeluna.     1820. 
The  Castle  of  Rivoli.    (  Versailles.) 
Stag  Hunt.     {Louvre.) 
The  Walls  of  Rome. 

VERNET,  Antoine  Iqnace,  Antoine  Fbanqois, 
and  FRANgois  Gabriel,  the  three  brothers  of  Joseph 
Vernet,  were  natives  of  Avignon.  Iqnace  was 
born  in  1726,  and  died  about  1775.  He  settled  at 
Naples  in  1746,  and  painted  chiefly  marine  subjects, 
and  eruptions  of  Vesuvius.  Francois,  born  in  1730, 
was  a  decorative  painter.  He  worked  in  Paris,  and 
through  the  influence  of  Joseph,  obtained  the  post 
of  painter  to  the  palaces  of  Fontainebleau  and  Ver- 
sailles. The  Avignon  Museum  possesses  a  '  Land- 
scape '  and  studies  of  flowers  by  him.  He  died  in 
Paris  in  1779.  FRANgois  Gabriel,  born  in  1728, 
practised  in  his  native  town  as  a  painter  of  religious 
subjects. 

VERNET,  Claude  Joseph,  was  born  at  Avignon 
August  14,  1714.  After  receiving  some  instruc- 
tion in  the  rudiments  of  design  from  his  father, 
Antoine  Vernet,  he  was  sent  to  Aix,  and  worked 
for  a  time  under  local  artists  of  repute.  At  the  age 
of  seventeen  he  so  successfully  carried  out  some 
decorative  work  for  M.  de  Caumont,  that  his  patron 
raised  a  subscription  to  enable  him  to  go  to  Rome. 
Upon  the  voyage  he  was  so  impressed  with  the 
effect  of  a  stormy  sea  that  he  had  himself  tied  to 
the  mast  in  order  to  be  able  more  accurately  to 
observe  it.  In  Rome  he  had  at  first  to  paint  carriages 
for  a  living,  but  was  shortly  able  to  enter  the  school 
of  the  marine  painter  Bernardo  Fergioni,  whom  he 
speedily  surpassed.  He  also  studied  under  Adrien 
Manglard,  Panini,  and  Solimena,  his  subjects  now 
being  the  ruins,  landscapes,  and  costumes  of  Rome. 
His  landscapes  soon  came  to  be  eagerly  sought  after 
by  distinguished  French  amateurs  and  by  the 
Italian  nobles  and  prelates.     He  first  followed  a 


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PAINTERS  AND  ENGRAVKRS. 


macner  resembling  that  of  Salvator  Rosa,  and 
worked  in  that  style  for  the  Farnese  Gallery  and 
Rondamini  Palace.  In  1745  he  married  Cecilia 
Parker,  daughter  of  the  Pope's  naval  commandant. 
The  works  he  sent  home  excited  so  much  admiration 
that  Madame  de  Pompadour  begged  him  to  settle 
in  Paris.  On  returning  to  France  he  was  in  1763 
admitted  to  the  Academy,  and  in  1766  to  its  council. 
Soon  after  this  Louis  XV.  commissioned  him  to 
paint  a  set  of  twenty  pictures  of  French  sea-ports. 
He  devoted  nine  years  to  this  undertaking.  Only 
sixteen  of  the  pictures,  however,  were  finislied,  the 
war  with  England  preventing  the  painting  of  the 
Channel  ports.  These  pictures  are  now  in  the 
Louvre.  They  were  followed  by  a  host  of  other 
marine  views,  many  of  which  are  in  the  same  col- 
lection. Vernet  died  in  the  Louvre,  December  3, 
1789.  His  last  years  were  embittered  by  the  mad- 
ness and  death  of  his  wife.  His  pictures  are  very 
numerous,  and  are  to  be  found  in  most  large 
galleries.  There  are  two  in  the  National  Gallery. 
Lebas,  Benazech,  Cochin,  and  others  engraved 
over  two  hundred  plates  after  his  works.  Vernet 
left  a  few  small  etchings,  among  them  the  fol- 
lowing : 

A  Landscape,  with  a  Bridge  and  part  of  a  Village. 

A  Shepherd  and  Shepherdess. 

A  View  of  a  Market-place. 

A  Canal,  with  Fishermen. 

VERNET,  Emile  Jean  Horace,  painter,  was  the 
son  of  Carle  Vernet,  and  was  born  in  Paris,  June 
30,  1789.  Showing  from  his  early  childhood  an 
equal  facility  in  the  use  of  pencil  and  burin,  his 
father  decided  that  he  should  follow  in  the  family 
footsteps  and  become  an  artist,  though  the  boy 
himself,  who  had  a  passion  for  sport,  horses, 
and  military  life,  wished  to  enter  the  army.  He 
became  his  father's  pupil,  and  also  studied  for  a 
while  under  Vincent,  gaining  the  first  of  the  many 
ofiBcial  honours  that  fell  to  him  in  1812  (a  medal 
of  the  first  class).  The  elder  Vernet,  determining 
to  settle  the  question  of  Horace's  career  in  a  definite 
manner,  married  him,  before  he  had  reached  the 
age  of  twenty,  to  Mile.  Louise  Pajol,  and  shortly 
afterwards  obtained  for  him  the  post  of  military 
draughtsman  at  the  seat  of  war.  So  early  as  1812 
Vernet  had  attracted  the  attention  of  the  Court, 
and  had  received  commissions  from  the  King  of 
Westphalia  and  Marie  Louise.  In  1814  he,  to- 
gether with  his  father,  fought  in  the  defence  of  the 
Barriere  de  Clichy,  and  for  his  gallantry  on  this 
occasion  the  Emperor  bestowed  on  him  with 
his  own  hand  the  Cross  of  the  Legion  of  Honour. 
An  ardent  Bonapartist,  he  remained  faithful  to 
the  Napoleonic  tradition  after  the  Restoration, 
and  propagated  it  by  means  of  sketches,  pic- 
tures, and  lithographs,  which  had  an  immense 
popularity  throughout  the  country.  This  partizan 
zeal  was  naturally  displeasing  to  the  Bourbons. 
They  looked  coldly  upon  the  artist,  who  was 
led  to  attach  himself  strongly  to  the  Duke  of 
Orleans'  party.  In  1820  the  King's  displeasure 
made  it  politic  for  Vernet  to  leave  Paris  for  a 
while,  and  he  went  to  Rome  with  his  father.  It 
was  at  this  time  that  he  painted  his  famous  '  Course 
des  Barbari '  (the  Carnival  race-horses).  After  his 
return  to  Paris  in  1822,  he  produced  the  'Defence 
of  the  Barriere  de  Clichy,'  his  best  work,  now  in 
the  Louvre,  and  sent  it,  together  with  his  '  Battle 
of  Jemappes,'  and  some  other  pictures,  to  the 
Salon,  but  the  authorities  rejected  them  on  political 
grounds.   Vernet  accordingly  opened  an  e^bition 

U2 


of  his  works  in  his  own  studio,  which  had  an 
extraordinary  success,  the  Parisian  public  generally 
espousing  his  cause.  Two  years  later  Charles  X., 
desirous  of  attaching  the  popular  painter  to  him- 
self,  commissioned  him  to  paint  his  portrait.  This 
was  followed  by  other  royal  commissions,  and  in 
1826  Vernet  was  elected  a  member  of  the  Institute. 
His  principal  works  for  the  king  were  a  ceiling  for 
the  royal  museum,  and  two  historical  pictures  for 
Versailles, '  Fontenoy '  and  '  Philip  Augustus  before 
Bouvines.'  In  1828  Vernet  became  Director  of  the 
French  Academy  at  Rome,  and  remained  at  the 
Villa  Mediois  till  1833,  when  he  gladly  resigned 
his  post,  and  hastened  to  join  the  French  army  at 
Algiers.  Returning  to  Paris,  he  received  numerous 
commissions  from  his  former  patron.  King  Louis 
Philippe,  who  had  converted  the  Palace  of  Versailles 
into  a  museum,  and  who  inaugurated  the  great 
'Gallery  of  Battles'  to  accommodate  his  prot^g^'s 
enormous  canvases.  In  1842  Vernet  visited  Russia, 
where  he  was  received  with  great  distinction  by 
the  Emperor,  and  painted  the  portrait  of  the 
Empress,  and  in  the  following  year  he  was  again 
with  the  army  in  Algiers.  The  Revolution  of  1848 
was  a  terrible  blow  to  his  hopes  and  prospects,  but 
under  the  second  empire  fresh  honours  fell  to  his 
share.  At  the  French  Exhibition  of  1855  an  entire 
gallery  was  devoted  to  his  works,  and  the  outbreak 
of  the  Crimean  War  opened  a  new  field  to  him. 
Among  his  latest  pictures  were  the  '  Battle  of  the 
Alma,'  and  a  portrait  of  Napoleon  HI.,  who  made 
him  grand  officer  of  the  Legion  of  Honour  a  few 
weeks  before  his  death  in  Paris,  January  17,  1863. 
Vernet's  work,  great  as  was  its  vogue  in  his  day, 
has  little  of  the  quality  that  makes  for  lasting 
fame.  He  has  been  called  the  '  Paul  Delaroche  of 
military  painting,'  and  the  comparison  aptly  illus- 
trates the  characteristic  appeal  of  his  muvre  to 
emotions  stirred  by  the  choice  of  subject,  and  not 
to  artistic  perception.  Flourishing  at  a  period  of 
extraordinary  patriotic  excitement,  he  won  success 
by  the  facile  skill  with  which  he  translated  the 
national  enthusiasm,  and  flattered  the  national 
vanity.  His  works  are  too  numerous  for  any 
detailed  list  here.  Besides  such  as  have  been 
mentioned,  there  is  a  large  collection  at  Versailles, 
of  which  perhaps  the  most  notable  are  : 

The  Taking  of  the  Smalah  of  Abdel-Kader  in  1843. 

Four  Scenes  from  the  Siege  of  Constautine  in  1837. 

The  camaieu  decorations  in  the  '  Salle  de  Crimee.*     J^  g, 

VERNET,  Jules,  a  French  miniature  painter, 
who  exhibited  portraits  at  the  Salon,  chiefly  of 
literary  and  theatrical  celebrities,  from  about  1812 
to  1842.     He  died  in  1843. 

VERNICI,  Giovanni  Battista,  was,  according  to 
Malvasia,  a  native  of  Bologna,  and  was  brought  up 
in  the  school  of  the  Carracci.  He  painted  religious 
and  historical  pictures  for  the  churches  and  public 
buildings  of  Pesarn  and  Urbino,  particularly  of  the 
latter  city,  where  he  was  appointed  principal  painter 
to  the  Duke,  in  whose  service  he  died  in  1617. 

VERNIER,  Emile  Lonis,  a  French  marine  and 
landscape  painter  and  lithographer,  was  born  at 
Lons-le-Saulnier  (Jura)  in  1831,  and  was  a  pupil 
of  Colette.  He  was  perhaps  best  known  by  his 
lithographs,  of  which  he  produced  a  great  variety 
of  a  very  high  degree  of  excellence,  chiefly  after 
the  works  of  Corot,  Rousseau,  Daubigny,  Millet, 
and  Courbet,  His  'Angelus,'  after  Millet,  was 
executed  on  commission  for  the  '  Chalcographie  du 
Louvre.'  As  a  painter  of  coast  scenes  and  fisher- 
folk,  both  in  oil  and  water-colour,  he  also  held  a 

291 


A  BIOGRAPHICAL  DICTIONARY  OF 


foremost  place  among  modern  French  artists.  Hia 
subjects  were  taken  principally  from  the  Norman 
and  Breton  coasts,  but  he  also  produced  some  views 
of  Venice  and  Dordrecht,  and  studies  of  the  Cornish 
coast,  and  tlie  Tliaines  near  and  in  London.  A 
public  exhibition  and  sale  of  a  large  number  of  his 
works  was  held  in  Paris  shortly  after  his  death, 
which  took  place  in  that  city.  May  26,  1887.  He 
held  medals  both  for  painting  and  litliography,  and 
received  the  cross  of  the  Legion  of  Honour  in 
1881. 

VERNIER,  Padl  Bahth^lemy,  a  French  painter 
and  litliogra])her,  born  in  Paris  in  1830,  was  a 
pupil  of  DnilHng,  and  exhibited  portraits  at  the 
Salon  in  1857  and  1861.  He  died  at  Marlotte  in 
1861. 

VERNON,  Jean  de.     See  Letellieb. 

VERNON,  Thomas,  engraver,  was  born  in  Staf- 
fordsliire,  about  1824.  He  studied  in  London  and 
Paris,  and  won  a  high  reputation,  especially  as  an 
engraver  of  figure  pictures.  He  worked,  however, 
at  a  time  when  excellence  in  his  special  branch  of 
art  met  witli  little  return  in  money,  and  he  had  all 
through  his  career  to  struggle  with  narrow  means. 
He  died  January  22,  1872.  Among  his  best  plates 
were  : 

Madonna  and  Child ;  after  Rajihael. 

Virgin  and  Child  ;  after  Di/ce. 

Princess  Helena  ;  after  Winterhalter. 

Lady  Constance  Grosvenor  ;  after  the  same. 

Olivia  Unveiling  ;  after  C.  R.  Leslie. 

The  First-born  ;  after  Cope. 

Christ  healing  the  Sick  ;  after  llurillo. 

VEROCCHIO,  (Verrocchio).     See  Del  Verboc- 

CHIO.^ 

VERON,  Alexandre  Paul  Joseph,  called  Belle- 
court,  painter,  born  in  Paris  in  1773,  was  a  pupil 
of  David  and  of  Van  Spaendonek.  He  painted  a 
few  historical  pictures,  but  devoted  himself  chiefly 
to  flower-studies,  both  in  oil  and  water-colour, 
many  of  which  appeared  at  the  Salon.  At  Ver- 
sailles there  is  by  him,  '  The  Emjieror  visiting  the 
Infirmary  of  the  Invalides  on  February  11,  1808.' 
He  appeared  at  the  Salon  for  the  last  time  in  1838. 

VERONA,  Battista  da.     See  Farinati. 

VERONA,  Cecchino  da.     See  Gecchino. 

VERONA,  FiLiPPO  DA,  a  third-rate  imitator  of 
Giambattista  Cima,  flourished  in  the  16th  century, 
and  is  the  author  of  a  '  Virgin  and  Child,'  in  the 
Academy  of  Arts,  Turin,  a  replica  of  which  is  in 
the  Locchia  Carrara  Gallery  at  Bergamo.  He  was 
employed  at  the  Eremitani  Chapel,  Padua,  where 
he  painted  the  'Glory  of  the  Virgin,  with  Angels 
and  Saints,'  in  1511;  having  previously  in  1509 
produced  a  '  Virgin  and  Child,  with  SS.  Felix  and 
Catharine,'  for  the  Santo.  The  church  of  San 
Niccol6,  Fabriano,  has  a  'Madonna  between  SS. 
Peter  and  Nicholas  of  Bari,'  by  him,  dated  1514. 
The  dates  of  hia  birth  and  death  are  unknown. 

VERONA,  Jacopo  Avanzo  da.     See  Avanzi. 

VERONA,  Maffeo,  was  born  at  Verona  in  1576, 
and  was  a  disciple  of  Luigi  Benfatto,  but  derived 
more  advantage  from  the  works  of  his  kinsman, 
Paolo  Veronese,  than  from  the  instruction  of  his 
master.  He  is  said  by  Ridolti  to  have  painted 
with  uncommon  celerity,  and  to  have  particularl3- 
excelled  in  fresco.  Many  of  his  works  exist  in  tlie 
public  buildings  of  Venice,  among  them  a  '  Christ 
bearing  His  Cross'  and  a  '  Crucifixion,'  in  the  chapel 
dedicated  to  St.  Isidore,  St.  Mark's.  The  same 
church  has  two  altar-pieces,  a  '  Deposition  from 
the  Cross,'  and  a  '  Resurrection.'     He  also  painted 

292 


several  pictures  for  the  cathedral  at  Udine,  and  for 
churches  in  his  native  city.     He  died  in  1618. 

VERONA,  Micuele  da,  was  born  in  1470.  Very 
little  is  known  of  his  career.  He  was  a  contem- 
porary of  Paolo  Morando  (Cavazzola),  and  may 
have  assisted  him  in  the  decorative  work  for  S. 
Bernardino,  at  Verona.  Inside  the  portal  of  San 
Stefano,  Milan,  is  a  large  'Crucifixion,'  signed  by 
him  in  1500,  and  formerly  in  the  Refectory  of  San 
Giorgio,  of  Verona.  The  same  subject,  dated  by 
him  in  1505,  is  in  Santa  Maria  in  Vanzo,  Padua. 
In  both  pictures  there  is  a  very  obvious  imitation 
of  the  manner  of  Jacopo  Bellini.  In  the  church 
of  Santa  Chiara,  Verona,  are  frescoes  representing 
the  Eternal,  with  Angels,  Prophets,  and  the  four 
Evangelists,  dated  1509  Frescoes  of  later  dates 
exist  in  the  churches  of  Vittoria  Nuova  and  Sant' 
Anastasia  ;  whilst  in  the  church  of  Villa  di  Villa, 
near  Este,  is  a  '  Madonna  and  Child,  between  SS. 
John  the  Baptist,  Lawrence,  Andrew,  and  Peter,' 
dated  1523.  This  is  the  latest  date  we  have  in 
connection  with  Michele.  Besides  the  works  already 
named  we  may  cite : 

London.      JVat.  Gallery.    The    meeting    of    Coriolanas 
with  Volumnia  and  Veturia. 
Verona.  Gallery.    Four  heads  of  Saints. 

VERONA,  Niccol6  da.  A  fresco  of  the  '  Virgin 
with  the  Child  and  Saints,'  in  the  Ogniaanti  at 
Mantua,  is  signed  with  this  name,  and  dated  1461. 

VERONA,  Stefano  da.     See  Stefano. 

VERONENSIS,  Jacobus.    See  Caraglio. 

VERONESE,  Alessandro.     See  Turchi. 

VERONESE,  BoNiFAZio.     See  Bonifazio  L 

VERONESE,  Claodio.     See  Ridolfl 

VERONESE,  Giovanni  Antonio,  and  Jacopo, 
two  painters  of  Verona.  According  to  Vasari, 
they  were  father  and  son,  and  Giovanni  was  the 
brother  of  Stefano  da  Zevio. 

VERONESE,  Liberale.     See  Liberale. 

VERONESE,  Paolo.     See  Caliari. 

VERRIO,  Antonio,  was  born  at  Lecce,  near 
Otranto,  in  1639.  His  master  is  unknown,  but 
as  soon  as  he  had  made  sufficient  progress  to 
travel  on  the  produce  of  his  talents,  he  went  to 
France  and  settled  at  Toulouse,  where  he  painted 
an  altarpiece  for  the  Carmelites,  which  is  described 
in  Du  Pay's  '  Traitd  sur  la  Peinture.'  Charles  II., 
wishing  to  revive  the  famous  tapestry  works  at 
Mortlake,  which  had  been  ruined  by  the  civil  war, 
invited  Verrio  to  England.  Once  there,  however, 
he  was  employed  in  decorating  Windsor  Castle, 
where,  in  a  'Christ  healing  the  Sick,'  he  introduced 
himself,  Sir  Godfrey  Kneller,  and  Baptist  May,  sur- 
veyor of  the  works,  in  long  periwigs,  as  spectators 
of  "the  miracle.  It  appears  by  a  memorandum  pre- 
served by  Vertue,  that  he  received  nearly  seven 
thousand  pounds  for  his  performances  at  Windsor. 
He  was  named  '  master  gardener '  to  the  king,  and 
had  a  lodging  assigned  to  him  in  St.  James's  Park. 
On  the  accession  of  James  II.,  Verrio  was  again 
employed  at  Windsor,  in  Cardinal  Wolsey's  tomb- 
house,  then  destined  for  a  Romish  chapel.  He 
is  said  to  have  refused  for  some  time  to  work  for 
King  William.  He  was  employed  by  Lord  Exeter 
at  Burleigh,  and  afterwards  executed  many  con- 
siderable works  at  Chatsworth,  among  which  the 
altar-piece  in  the  chapel  may  be  named,  repre- 
senting the  Incredulity  of  S.  Thomas.  By  the 
persuasion  of  Lord  Exeter,  he  at  length  con- 
sented to  serve  King  William,  and  was  employed 
to  paint   the  great   staircase  at   Hampton   Court. 


PAINTERS  AND   ENGRAVERS. 


Queen  Anne  granted  him  an  annua!   pension  of 
£200  upon  his  relinquishing  worlj  through  failure  of 
eight.     He  died  at  Hampton  Court,  June  17,  1707. 
VERROCCHIO.     See  Del  Verrocchio. 
VERRYKE.     See  Vereijcke. 
VERSCHAEREN,  Jean  Antoine,  was  bom  at 
Antwerp  in  1803,  and  was  a  painter  of  portraits, 
history,    and    landscapes.      He    was    a    pupil    of 
Herreyns,   and  afterwards   travelled   in    England, 
Germany,  France,  and  Italy,  spending  some  time 
at   Munich    and    Rome.     He  became    professor  at 
the  Academy  of  Antwerp,  where  he  died  in  1863. 
Among  his  best  pictures  are: 

Rebekah  and  Eliezer  at  the  Well. 

Kuth  and  Boaz. 

The  Descent  from  the  Cross.    (Louvain.) 

Jephthah. 

The  Annunciation.     {Bois-le-Duc.) 

Portrait  of  G.  J.  Herreyns. 

VERSCHOOTEN, ,  a  Flemish  painter  of  the 

18th  century,  who  was  the  first  director  of  the 
Brussels  Academy,  founded  by  Prince  Charles  of 
Lorraine.  He  died  towards  the  close  of  the  18th 
century. 

VERSCHUIER,  Lieve,  (or  Verschuor,)  painter, 
was  born  at  Rotterdam  about  1(530.  He  was  a 
pupil,  as  is  supposed,  of  Simon  de  Vlieger,  after 
which  he  went  to  Italy.  On  his  return  he  painted 
numerous  sea-pieces  with  vessels,  and  in  some  cases 
fights.  The  Amsterdam  JIuseum  has  three  pictures 
by  him:  'Charles  II.  of  England  entering  the  port 
of  Rotterdam,'  'The  Punishment  of  a  surgeon  for 
having  attempted  to  poison  Admiral  van  Nes,'  and 
a  '  Sea-piece.'  He  died  at  Rotterdam  in  December, 
1686.  Albert  VERscnniER,  the  brother  of  Lieve, 
was  a  portrait  painter.     He  died  in  1691. 

VERSCHURINGH,  Hendrik,  a  Dutch  painter, 
born  at  Gorcum  in  1627.  His  father,  who  was  a 
captain  of  infantry  in  the  Dutch  service,  was 
desirous  of  bringing  him  up  to  the  profession  of 
arms,  but  the  feeble  constitution  of  his  son  and 
his  evident  talent  for  drawing,  induced  him  to 
place  him  under  the  tuition  of  Dirk  Govertsz,  a 
portrait  painter  of  some  reputation,  with  whom 
he  remained  until  he  was  thirteen  years  of  age. 
His  genius  leading  him  to  a  different  department 
of  art,  he  quitted  his  first  instructor,  and  became  a 
scholar  of  Jan  Both,  at  Utrecht,  and  six  years 
later  visited  Italy  for  improvement.  His  taste  led 
him  to  paint  animals,  huntings,  and  battles,  with 
remains  of  ancient  architecture  as  accessories.  After 
a  residence  of  ten  years  in  Italy,  he  in  1662  returned 
to  Holland,  where  his  opportunities  of  painting 
the  calamities  of  warfare  were  but  too  frequent. 
Although  he  occasionally  painted  landscapes,  his 
best  pictures  represent  battles,  attacks  of  banditti, 
and  the  plundering  of  villages.  Wouwermans  is 
said  to  have  occasionally  painted  horses  for  him. 
After  a  career  of  much  prosperity,  he  was  drowned 
near  Dordrecht,  on  the  26th  of  April,  1690.  Pic- 
tures of  his  are  at  Berlin,  Brunswick,  Copenhagen, 
and  Rotterdam.  Verschuringh  has  left  a  few  shght 
but  spirited  etchings,  which  are  now  scarce : 

A  Battle;  two  Horsemen  galloping  to  the  left,  one 
armed  with  a  helmet  and  shield,  the  other  sounding 
a  horn.  H.  Verschuringh^f.  There  are  two  versions 
of  this. 

The  Travellers  ;  a  Woman  on  an  Ass,  with  a  Boy  before 
her,  and  a  Man  on  horseback  by  her  side ;  a  large 
Dog  barking.     II.  Verschuringh^  f. 

The  Two  Dogs  ;  a  Greyhound  with  his  head  lifted  up 
as  if  howling,  and  a  Dog  couched,  turning  his  head 
towards  the  Hoond.    U.  V.  S.rna  monogram. 


The  Three  Dogs  ;  a  Greyhound  standing  and  turning 
his  head  towards  a  Dog  lying  down,  a  third  Dog  in 
the  background.    The  artist's  cipher  at  bottom. 

VERSCHURINGH,  WiLLEM.the  son  of  Ilendrik 
Verschuringh,  was  born  at  Gorcum  in  1657,  and 
was  for  some  time  instructed  by  his  father  ;  but 
his  inclination  leading  him  to  a  different  branch  of 
art,  he  was  permitted  to  become  a  disciple  of  Jan 
Verkolje.  He  painted  small  portraits,  conversa- 
tions, and  domestic  subjects,  finished  in  the  style 
of  his  master,  by  which  he  had  acquired  some 
reputation,  when  he  abandoned  painting  for  com- 
merce. He  died  in  1715.  His  son,  Willem  Ver- 
schuringh the  younger  (1C95 — 17691,  was  also  a 
painter,  and  practised  at  tlie  Hague. 

VERSCHUUR,  VVouTERUS,  (or  Walter,)  was 
bom  at  Amsterdam  in  1812,  and  was  instructed  by 
P.  G.  van  Os  and  C.  Steffelaar.  In  1831  and  1832 
he  was  premiated  by  the  Felix  Meritis  Society  at 
Amsterdam,  and  afti  rwards  became  a  member  of 
the  Academy  in  that  cit}'.  His  pictures  consisted 
of  landscapes,  coast  views,  and  horses,  in  VVou- 
werman's  manner.  He  died  at  Vorden,  July  4, 
1874.  Besides  numerous  stables  with  horses,  the 
following  pictures  by  him  may  be  noted  : 

Sleigh  racing  on  the  Zaan.     (Amsterdatii  Museum.) 

Stormy  Weather.     (Do.) 

Horse  Fair.     (Do.) 

The  Halt  before  the  Inn.     1839. 

A  Bay  Horse  with  a  Plough.     1840. 

Landscape  with  Horses  and  Figures.     1841. 

VERSELIN,  Jacques,  miniature  painter,  was 
born  in  Paris  in  1646,  and  died  there  June  1st, 
1718.  He  was  received  into  the  Academy,  1687, 
his  reception  picture  being  a  miniature  portrait  of 
the  king,  after  Le  Brun. 

VERSPLIT,  Victor.  Nothing  is  known  of  the 
life  of  this  painter,  who  practised  in  the  17th 
century.  He  was  probably  a  native  of  Ghent,  as 
there  are  several  hmdscapes  signed  with  his  name 
in  the  sacristy  of  the  Augustine  church  in  that 
city.  He  is  perhaps  identical  with  the  Verspilt 
mentioned  by  Decamps. 

VERSPRONCK,  Cornelis  Enqelszen,  a  painter 
of  Haarlem,  was  a  pupil  of  Cornelis  Comeliszen 
and  Karel  van  Mander.  In  1593  ho  entered  the 
Guild  and  became  a  painter  of  portraits  and  of 
shooting  pieces,  one  of  which,  dated  1618,  is  in 
the  Haarlem  Museum.  The  date  of  his  death  is 
not  known,  but  that  of  his  widow  is  recorded 
in  1666. 

VERSPRONCK,  Gerard,  or  JocHEM,or  (Gerard 
Spronck,  or  Spronq,)  the  eldest  son  of  C.  E.  Ver- 
spronck,  was  probably  born  at  Haarlem  about 
1600.  He  was  an  historical  painter,  and  there  is 
also  a  half-length  female  portrait  in  the  Louvre  by 
him.  He  is  supposed  to  have  died  in  1651.  In 
the  Louvre  catalogue  he  is  called  Spronq,  and 
under  that  name  has  been  already  inserted  in  this 
lictionary. 

VERSPRONCK,  Jan,  (or  Johannes  Spronck,) 
the  second  son  of  C.  E.  Verspronck,  was  born  at 
Haarlem  in  1597,  and  entered  the  Guild  in  1632. 
He  was  a  pupil  of  his  father  and  Frans  Hals,  and 
painted  portraits  and  shooting  pieces.  There  are 
pictures  by  him  at  Haarlem,  Amsterdam,  Berlin, 
Paris,  Oldenburg,  Schleisshem,  &c.  Two  excellent 
portraits  of  Thomas  Wijck  and  his  wife,  by  Ver- 
spronck, are  in  the  collection  of  Mr.  David  Sellar. 
He  died  at  Haarlem,  June,  1662. 

VERSTAPPEN,  Martin,  was  born  at  Antwerp 

293 


A  BIOGRAPHICAL  DICTIONARY  OF 


in  1773,  and  was  first  a  pupil  of  P.  van  Rege- 
morter  and  afterwards  of  Klengel,  in  Dresden. 
Subsequently  lie  went  to  Rome,  and  studied  under 
his  countryman,  Simon  Denys.  He  settled  in  that 
city,  and  became  professor  to  the  Academy  of  S. 
Luke,  but  continued  to  send  pictures  to  the  ex- 
hibitions in  Belgium,  Holland,  and  Paris.  He 
painted  with  the  left  hand.  He  died  in  1840. 
Among  his  works  we  may  name : 

Pilgrims'  Chapel  at  Narni. 

Church  of  the  Madonna  del  Neve  at  Caprarola. 

Grotto  of  Palazzoli. 

Chapel  at  L'Aricia.   (Thorwaldsen  Museum,  Copenhagen.) 

VERSTEEG,  Maqgiel,  (or  Versteigh,)  a  painter 
of  landscapes  and  interiors,  was  bom  at  IJordrecht, 
August  30th,  1756.  He  was  a  pupil  of  A.  van 
Wanum  and  of  J.  Ponse.  At  first  he  painted  land- 
scapes with  figures  and  cattle  in  a  careful,  some- 
times too  elaborate,  manner.  He  afterwards  aban- 
doned landscape  and  painted  interiors  with  figures, 
by  lamp-light  or  candle-light,  and  in  this  genre 
became  eminent.  Without  reaching  the  polish  of 
Schalken,  he  often  equals  him  in  his  efiects  of  light 
and  shadow.  His  pictures  of  this  class  are  to  be 
found  in  the  best  Dutch  collections,  and  some 
have  migrated  to  England.  He  died  at  Dordrecht 
in  November,  1843.  He  was  a  member  of  the  Royal 
Institute  of  the  Netherlands,  and  of  the  Antwerp 
Academy.     Pictures : 

Axasteiiam.  R.  Museum.    A  Mnsic  Party. 

„  „  The  Scullery  Maid. 

Lille.  Museum.     Interior  (larap-light). 

Eotterdam.  „  Old  Woman  spinning  by  Lamp- 

light. 

VERSTER,  D.     See  Star,  Dirck  van. 

VERSTRAELEN,  J.,  was  a  Dutch  engraver, 
who  flourished  about  the  year  1620.  He  has  left 
a  plate  representing  Maurice,  Prince  of  Orange, 
lying  dead,  surrounded  by  his  officers  and  guards 
and  two  children. 

VERSTRAETEN, ,  a  Flemish  architectural 

painter,  who  flourished  at  the  beginning  of  the 
18th  century.  There  is  a  picture  in  the  Antwerp 
Museum  by  B.  van  den  Bossche  of  the  Guild  of 
Crossbowmen,  in  which  the  distant  landscape  is 
painted  by  Cornelis  Huysmans  and  the  architectural 
background  by  Verstraeten.     He  died  about  1729. 

VERTANGEN,  Daniel,  was  born  at  the  Hague 
in  1598,  and  was  a  disciple  of  Cornelis  Poelen- 
burgh.  He  painted  similar  subjects  to  those  of  his 
master,  representing  landscapes,  with  small  figures, 
principally  Nymphs  bathing,  Bacchanals,  and  sub- 
jects from  Ovid.  His  works  are  often  ascribed  to 
Poelenburgh.  In  the  Dresden  Gallery  there  is  an 
'Adam  and  Eve'  by  him,  and  in  the  Copenhagen 
Gallery  a  '  Diana  and  Nymphs.' 

VERTUE,  George,  was  born  in  the  parish  of  St. 
Martin's  in  the  Fields,  London,  in  the  year  1684. 
His  parents  were  in  poor  circumstances.  About 
the  age  of  thirteen  be  was  placed  with  a  Frenchman 
who  engraved  arms  on  plate,  and  had  the  chief 
business  of  London  ;  but  who,  being  extravagant, 
failed  and  returned  to  his  own  country,  after 
Vertue  had  served  him  about  three  or  four  years. 
Returned  to  his  parents,  Vertue  gave  himself 
entirely  to  the  study  of  drawing  for  two  years, 
and  then  entered  into  an  engagement  with  Michiel 
Van  Der  Gucht  for  three  more,  which  term  he  pro- 
tracted to  seven,  engraving  copper- plates  for  him, 
when,  having  received  instructions  and  advice 
from  several  painters,  he  quitted  his  master  on 

294 


handsome  terms,  and  began  to  work  for  himself. 
This  was  in  the  year  1709.  His  first  twelve 
months  were  passed  in  drawing  and  engraving 
for  books.  In  the  intervals  of  leisure  Vertue 
practised  music,  learned  French,  Dutch,  and  a 
little  Italian,  so  that  he  might  consult  in  the 
originals  the  books  in  those  three  languages  on 
the  art  to  which  he  was  devoted.  At  last  his 
works  began  to  attract  attention,  and  Lord  Somers 
paid  him  well  for  a  plate  of  Archbishop  Tillotson. 
This  print  was  the  ground-work  of  his  reputation. 
In  1711  an  academy  for  painting  was  started  in 
London.  Sir  Godfrey  Kneller  was  placed  at  its 
head.  Vertue  was  one  of  the  first  members,  and 
drew  there  for  several  years.  To  the  end  of  the 
reign  he  continued  to  engrave  portraits  after 
Kneller,  Dahl,  Richardson,  Jervas,  Gibson,  and 
others.  On  the  accession  of  the  house  of  Bruns- 
wick, he  published  a  large  portrait  of  the  new 
king,  which  was  shown  at  court,  and  followed  by 
those  of  the  prince  and  princess.  As  early  as 
171.S,  Vertue  commenced  his  researches  into  the 
lives  of  our  artists,  and  began  those  collections 
into  which  he  put  everything  that  could  tend 
to  advance  his  great  work,  the  '  History  of  the 
Arts  in  England.'  Robert  Harley,  second  Earl  of 
Oxford,  was  one  of  the  first  to  understand  the 
merit  and  application  of  Vertue.  Another  patron 
was  Heneage  Finch,  Earl  of  Winchelsea,  whose 
portrait  he  painted  and  engraved,  and  who,  being 
president  of  the  Society  of  Antiquaries  on  its  revival 
in  1717,  appointed  Vertue  its  engraver. 

The  university  of  Oxford  employed  him  for  many 
years  to  engrave  the  headings  to  their  almanacks. 
In  1730  appeared  his  twelve  heads  of  poets,  and 
shortly  after%vards  a  set  of  heads  of  Charles  I.  and 
the  sufferers  in  his  cause,  with  their  characters 
from  Clarendon.  This  was  scarce  finished,  before 
Rapin's  History  of  England  appeared,  with  por- 
traits of  kings  and  cnls-de-lainjje  by  Vertue.  In 
1740  he  published  his  proposals  for  the  commence- 
ment of  his  valuable  historical  prints. 

Vertue  died,  as  he  had  lived,  in  the  Roman 
CathoUc  faith,  on  July  24,  1756,  and  was  buried 
in  the  cloisters  of  Westminster  Abbey.  His  work 
as  an  engraver,  though  of  no  great  artistic  merit, 
forms  a  valuable  historical  record,  and  his  anti- 
quarian researches  and  writings  were  of  the  highest 
importance.  His  large  collection  of  notes  and 
memoranda  were  purchased  after  his  death  by 
Horace  Walpole,  and  formed  the  basis  for  his 
'  Anecdotes  of  Painting  in  England.'  The  original 
collections  are  now  in  the  British  Museimi.  A 
complete,  classified  list  of  Vertue's  plates  is  given 
by  Walpole. 

VERTUE,  James,  portrait  painter  and  draughts- 
man, was  the  brother  of  George  Vertue,  the  en- 
graver. He  practised  at  Bath,  where  he  died  about 
1765.  George  Vertue  engraved  an  'Interior  of 
Bath  Abbey  Church,'  from  a  drawing  by  James. 

VERDZIO.     See  Verla. 

VERVEER,  Art  Hdbertsz,  an  inferior  Dutch 
painter  and  unsuccessful  imitator  of  Rembrandt, 
flourished  at  Dordrecht  in  the  middle  of  the  17th 
century.  In  1646  he  entered  the  Guild  of  S.  Luke 
in  that  city. 

VERVEER,  Salomon  Leonabdus,  a  Dutch  land- 
scape painter,  was  born  at  the  Hague,  November 
30,  1813.  He  was  a  pupil  of  B.  J.  Van  Hove. 
His  works  are  chiefly  views  of  Dutch  towns  and 
scenery,  with  characteristic  figures.  He  enjoyed 
a  high  reputation  in  his  native  country,  and  his 


PAINTERS  AND  ENGRAVERS. 


works  were  occasionally  exhibited  in  Belgium, 
France,  and  Germany.  At  the  Philadelphia  Exhi- 
bition of  1876,  his  'Village  of  Scheveningen ' 
received  a  medal.  He  died  at  the  Hague,  January 
5,  1876.     Among  his  pictures  are: 

Amsterdam.  R.  STusaim.     Three  Landscapes. 
Kotterdam.  „         Afternoon  at  Katwijk-on-Sea. 

VERVLOET,  Franciscdb,  painter  born  at 
Mechlin  in  1795,  was  the  younger  brother  of  Jean 
Vervloet.  His  works  were  principally  views  of 
towns,  monuments,  and  interiors,  with  figures  in- 
troduced. He  worked  much  in  Italy,  and  died 
during  a  visit  to  Venice  in  1872.     Works: 

Amsterdam.  R.  Museum.    View  of  S.  Peter's,  Home. 
Brussels.  „  „        B-  M.iria  Nuova, 

Naples. 

VERVLOET,  Jean  Joseph,  painter,  born  at 
Mechlin  in  1790,  was  professor,  and  afterwards 
director,  of  the  Academy  of  Mechlin.  He  painted 
historical  pictures — The  '  Penitent  Magdalen '  (at 
Reeth),  'Saint  Vincent  de  Paul,'  &c.  He  died  in 
1869.  His  wife,  Madame  AnuusTiNE  Vervloet, 
also  practised  as  a  painter  of  flowers  and  fruit. 
VERVOORT.  See  Van  der  Voort. 
VERVOORT,  Michael,  painter  and  native  of 
Antwerp,  was  a  pupil  of  the  Academy  in  1797. 
In  the  Eglise  du  Sablon,  at  Brussels,  there  are 
two  scenes  from  the  life  of  S.  Barb.ira  by  him. 

VERWfiE,  Alfred  Jacques,  French  painter ; 
bom,  April  23,  1838,  at  St.  Jos-ten-Oode,  near 
Brussels  ;  became  a  pupil  of  his  father,  Louis  Pierre, 
and  studied  at  Brussels  under  E.  Verboeckhoven. 
He  painted  landscapes  and  animals  with  success, 
and  his  pictures  are  to  be  seen  in  most  of  the 
leading  Belgian  collections.  They  include  '  Banks 
of  the  Scheldt,'  '  Horses  at  Pasture,'  '  View  in  the 
Ardennes,'  djc.  He  obtained  medals  in  Brussels 
and  Paris  ;  the  Leopold  Order  in  1871,  and  the 
Legion  of  Honour  in  1881.  He  died  at  Brussels, 
September  15,  1895. 

VERWIjIE,  Lonis  Pierre,  painter,  bom  at 
Courtrai  in  1807,  was  a  pupil  of  E.  Verboeckhoven, 
whose  manner  he  imitated  with  minute  fidelity. 
He  painted  landscapes,  to  some  of  which  Ver- 
boeckhoven added  the  animals,  and  hence  many  of 
his  works  have  been  sold  as  by  his  master.  He 
died  in  1877. 

VERWILT,    Francis,    born    at  Rotterdam    c. 
1623,  was  at  Flushing  in  1653,  but  back  at  Rotter- 
dam in   1669;    died    in  August   1691.     Painted 
historical  subjects,  genre  and  portraits. 
Amsterdam.     Museum.     Portrait  of  a  young  man. 
Cassel.  Museum.     Small  paintings  with  figures,  in 

style  of  Cornelius  vanPoelen- 
burgh. 
Copenhagen.     Gallery.     A  Nymph  bathing. 
Osnabriick.     M.  Stive.     Two  Cupids  in  a  landscape. 
St.Petersburg.i^.i'.m«)u      g  wuiw 

Semenoff.  j  W.  H.  J.  W. 

VESTIER,  Antoine,  portrait  painter,  was  born  at 
Avallon,  (Yonne,)  in  1740.  He  became  an  Acade- 
mician in  1786.  He  travelled  for  some  years  in 
England  and  Holland,  and  on  his  return  in  1764, 
settled  in  Paris,  and  married  the  daughter  of  one 
Rdverand,  an  enameller.  After  this  he  executed 
a  few  enamels  ;  he  continued,  however,  to  practise 
chiefly  as  an  oil-painter  and  miniaturist,  and  sent 
many  works  to  Parisian  exhibitions  between  178'i 
and  1806.  He  died  in  Paris,  December  24,  1824. 
His  portrait  of  his  wife,  a  child  playing  with  a 
dog  at  her  feet,  is  in  the  Louvre ;  also  portraits 


of  a  young  man  and  a  young  woman  (in  the  La 
Gaze  Collection). 

VETRARO  (or  Vetriario).     See  Bembo. 

VETRIARIO.    See  Bembo,  Gianprancesco. 

VETTEWINKEL,  Hkndrik,  a  Dutch  painter, 
bom  at  Amsterdam,  October  20,  1809,  died  there 
.May  8,  1878.  There  is  a  shipping  scene  by  him 
in  the  Rijks  Museum  at  Amsterdam. 

VEXES,  Josef,  was  a  Spanish  painter  of  about 
the  middle  of  the  18th  century,  who  spent  some 
time  in  Italy,  and  ultimately  went  to  South 
America,  where  he  died  in  1782. 

VEYTH.     See  Veith. 

VfeZE,  Jean  Charles,  Baron  de,  painter,  born 
at  Toulouse  in  1788,  was  a  painter  of  views  and 
architecture.     He  died  in  1855. 

VEZZO,  Virginia  de,  painter,  was  a  native  of 
Velletri,  and  the  pupil  of  Simon  Vouet,  whose  first 
wife  she  became.  She  painted  historical  pictures 
and  miniatures,  and  also  practised  in  pastel.  She 
enjoyed  a  share  of  her  husband's  popularity  at  the 
court  of  Louis  XIII.  One  of  her  daughters  married 
the  painter,  Francois  Tortebat,  and  another  Michel 
Dorigny,  the  engraver.     She  died  in  1638. 

VIA,  Aless.  della.    See  Della  Via. 

VIALY,  Lonis  Ren^  de,  (or  Viai.lis,)  was  a  por- 
trait p.iinter,  and  a  pupil  of  Rigaud.  He  was  born 
at  Avignon  in  1680.  He  is  supposed  to  have  given 
some  assistance  to  Joseph  Vernet,  with  whom  he 
had  friendly  relations  all  his  life.  He  settled  in 
Paris  in  1755,  became  a  member  of  the  Academy  of 
S.  Luke  in  1756,  and  was  appointed  painter  to  the 
king.  He  died  in  1770.  Among  his  works  were, 
portraits  of  Don  Philip,  Infant  of  Spain,  and  of 
many  of  the  Royal  Family  of  France. 

VIANA,  Francisco  de,  a  Genoese,  accompanied 
Castello  from  Genoa  to  Spain,  assisting  in  his  works 
at  the  Alcazar  during  his  lifetime,  and  finishing 
some  after  his  death.  He  was  appointed  painter  to 
Philip  II.  in  1571,  with  a  salary  of  twenty  ducats 
a  month.  He  died  at  Madrid  in  1605.  His  son, 
LdRenzo  de  Viana,  held  oSice  as  painter  to 
Philip  IIL 

VIANEN,  Jan  van,  a  Dutch  engraver,  was  bom 
at  Amsterdam  about  the  year  1660.  He  engraved 
several  portraits,  as  well  as  frontispieces  and  other 
plates  for  books.  Among  his  portraits  are  the 
following  : 

Frederick  William  I.,  King  of  Prussia. 
Augustus  Pfeiffer,  superintendent  at  Lubeck. 
Jean  Turetin,  Theologian,  of  Geneva. 

VIANEN,  Padlds  van,  portrait  painter,  is  repre- 
sented in  a  print  (etched  by  Jacobus  Lutma  after 
his  brother  Janus)  in  the  act  of  painting  the  like- 
ness of  Jan  van  Aken.  He  was  born  at  Utrecht 
in  the  second  half  of  the  16th  century,  was  the 
pupil  of  his  father,  Willem  Eerstensz  v.  Vianen, 
and  w.as  not  only  a  painter  and  engraver,  but  also 
a  goldsmith  and  chaser.  He  visited  Italy  and 
Germany,  and  was  patronized  by  the  Emperor 
Rudolph  II.,  who  appointed  him  his  goldsmith. 
He  died  at  Prague  before  1620. 

VIANI,  Antonio  Maria,  called  Vianino,  was  a 
painter  and  carver,  who  was  bom  at  Cremona  about 
1540.  He  was  a  pupil  of  the  Campi.  He  was 
court  painter  to  Duke  Vincenzio  Gonzaga,  and 
adorned  the  large  gallery  of  the  Ducal  Palace  at 
Mantua  with  groups  of  children.  He  worked  also 
at  Capua.  He  died  at  Mantua  at  a  very  advanced 
age. 

VIANI,  DoMENico  Maria,  the  son  of  Giovanni 

295 


A  BIOGRAPHICAL   DICTIONARY  OF 


Maria  Viani,  was  born  at  Bologna  in  1668  (?),  and 
was  educated  under  his  father,  who  kept  a  rival 
academy  to  that  of  Carlo  Cignani.  He  was  inferior 
to  his  father,  but  attained  much  vigour  through 
Btudy  from  the  Venetian  masters.  In  the  church 
of  La  Nativity,  at  Bologna,  there  is  a  series  of 
Prophets  and  Evangelists  by  him ;  in  the  church 
of  San  Spirito,  at  Bergamo,  a  '  Miracle  of  S. 
Anthony,'  and  in  the  Dresden  Gallery,  a  '  Venus 
reclining,  with  Cupid.'  He  died  at  Pistoja  in 
1711.  Bartsch  describes  an  etching  by  him  of 
'  Joseph  with  the  Infant  Jesus.' 

VIANI,  Giovanni  Maria,  was  born  at  Bologna 
in  1637,  and  was  a  fellow-student  with  Pasinelli, 
in  the  school  of  Flaminio  Torre.  He  imitated  the 
general  style  of  Guido,  and  few  of  his  contem- 
poraries equalled  him  in  correctness  of  draughts- 
manship and  knowledge  of  anatomy.  He  directed 
a  school  at  Bologna  in  which  many  distinguished 
artists  were  formed.  He  painted  many  pictures  for 
the  public  buildings  of  Bologna,  among  them  an 
'Annunciation,'  in  S.  Giuseppe;  and  at  the  Servi, 
'  S.  Filippo  Benizi  carried  up  to  Heaven,'  and  the 
'  Coronation  of  the  Virgin.'  He  died  in  1700. 
Other  works  : 

Bologna.  Gallery.    S.  John  the  Baptist. 

„  „  Portrait  of  a  Monk. 

Florence.  Uffizi.    Virgin  and  Child. 

Bartsch  describes  these  four  etchings  by  him  : 

Christ  crowned  with  Thorns ;  after  AnrdbaU  CarracH, 

Dido  ;  after  the  same, 

S.  Francis  with  the  Infant  Christ  in  his  arms ;  aftgr 

Lodovico  Carracci, 
War ;  after  the  same, 

VIARD,  Georges,  a  French  landscape  painter, 
the  dates  of  whose  birth  and  death  seem  to  be 
unknown.  He  exhibited  at  the  Salon  from  1834 
to  1870.  There  is  a  pastoral  landscape  by  him  in 
the  Orleans  Museum. 

VIBERT,  Jean  Georges,  died  suddenly  in 
Paris  in  1904,  of  heart  disease.  Very  early  in 
his  career  M.  Vibert  made  a  name  for  himself 
in  historical  paining.  His  subjects  were  chosen 
for  their  dramatic  possibilities,  and  he  treated 
them  with  a  spontaneity  and  vigour  which  won 
him  great  praise.  Among  the  more  powerful  of 
those  compositions  were  the  '  Murt  de  Narcisse' 
and  '  Martyrs  Chretiens  dans  la  fosse  aux  lions.' 
Portraiture  also  occupied  his  attention,  and  his 
work  in  that  branch  of  art  was  marked  by  a 
freedom  and  directness  uncommon  in  French  por- 
trait painting  of  the  period.  But  in  18G7  a  change 
came  over  the  spirit  and  method  of  his  work. 
Bigness  of  subject  and  breadth  of  treatment  gave 
way  to  small  things  and  niggling.  '  Entree  de 
Toreros,'  '  Barbier  Ambulant,'  and  '  Retour  de  la 
diane '  showed  him  at  his  best  at  that  stage  of  his 
evolution.  M.  Vibert's  first  great  popular  success, 
the  'Apoth^ose  de  M.  Thiers,'  was  perhaps  tlie 
worst  picture  he  ever  painted.  It  was  of  enormous 
size,  and  when  exhibited  in  the  Salon  of  1878  its 
subject  made  it  the  picture  of  the  year.  Later  on 
ecclesiastical  life  fascinated  him,  and  a  series  of 
pictures  representing  priests  and  monks  won  him 
much  favour  with  the  public.  '  Debuts  d'un  Con- 
fesseur,'  the  'Antichambre  de  Monseigneur,'  the 
'  R^cit  d'un  Missionaire,'  and  the  '  Moine  cueillant 
des  raiiis '  have  been  familiarized  by  engravings. 
M.  Vibert's  genius  was  uncertain  in  its  means  of 
expression  ;  hence  the  changes  which  overcame 
it,  and  kept  it  from  the  growth  that  would  have 

296 


borne  fruit  for  posterity.  StLU,  his  work  is  ex- 
tremely interesting,  showing  as  it  does  a  mind 
more  influenced  by  the  human  than  the  artistic 
side  of  life.  Some  people  think  that  M.  Vibert's 
true  position  would  have  been  found  in  dramatic 
literature.  In  fact  he  himself  felt  this,  and  wrote 
several  pieces  which  were  played  at  the  Vaude- 
ville, Palais  Royal,  and  the  Vari^t^s.  He  also 
wrote  a  series  of  articles  on  art  matters  for  tha 
'Century  Magazine.'  But  his  versatility  acted  as- 
a  drag  to  his  real  talent.  He  was  a  delightful 
companion,  witty,  generous,  and  good-natured, 
which  qualities  were  seen  in  his  rubicund  face  and 
short,  corpulent  Renan-like  figure.  Vibert  foui^ht 
in  1870,  and  for  his  bravery  at  Mahnaison,  where 
he  was  wounded,  he  was  made  Chevalier  of  the 
Legion  of  Honour  on  the  field,  afterwards  rising 
to  the  rank  of  OIBcer.  He  was  one  of  the  founders 
of  the  French  Water-Coloiir  Society. 

VIBERT,  Victor,  an  engraver,  was  born  in  Paris 
in  1799.  He  was  the  son  of  Joseph  Vibert,  an 
engraver  who  was  much  employed  by  the  publisher 
Didot,  and  studied  under  Panquet  and  Richomme. 
In  1828  he  obtained  the  Grand  Prix  de  Rome,  and 
accordingly  betook  himself  to  Italy.  There  he 
engraved  '  The  Virgin  with  the  Pink,'  after 
Raphael.  In  1833  he  became  a  teacher  of  en- 
graving in  the  School  of  Art  at  Lyons.  He  died 
at  Lj'ons,  March  19th,  1860.  One  of  his  best  works 
was  his  large  engraving  from  Orsel's  '  Good  and 
Evil.'  Another  was  a  portrait  of  Jacquard,  after 
Bonnefond.  Vibert's  plates,  however,  are  few,  for 
most  of  his  time  was  given  to  teaching. 

VICAR,  J.  B.     See  Wicar. 

VICARO.  Francesco.     See  Vaccaro. 

VICENTE,  Bartolome,  a  landscape  and  fresco 
painter,  was  born  at  Saragos'^a  in  1640,  and 
studied  painting  under  Juan  Carreno  at  Madrid. 
It  is  said  that  he  spent  seven  years  in  copying 
pictures  at  the  Escorial,  especially  those  by  the 
Bassani.  He  painted  a  few  pictures  at  Madrid, 
some  of  which  were  from  designs  by  his  master. 
Having  acquired  the  reputation  of  a  good  painter 
he  returned  to  Saragossa,  and  employed  himself  in 
teaching  mathematics,  and  painting  small  land- 
scapes. Among  his  larger  works  were  a  fresco  for 
the  Augustinee,  an  altar-piece  for  S.  Lorenzo,  and 
a  'S.  Peter  in  Prison,'  for  the  Uidversity.  He 
died  at  Saragossa  in  1700. 

VICENTINO,  Andrea.     See  Dei  Michieli. 

VICENTINO,  Antonio.     See  Visentino. 

VICENTINO,  Battista.     See  Pittoni. 

VICENTINO,  Francesco.     See  Maffei. 

VICENTINO,  Francesco,  a  Milanese  painter  of 
the  school  of  Bernazzano,  who  flourished  in  the 
Ifith  century.  He  painted  some  pictures  for  Santa 
Maria  delle  Grazie,  at  Milan,  and  other  churches, 
and  Lomazzo  praises  the  minute  finish  of  a  land- 
scape by  him. 

VICENTINO,  Giuseppe  Niccol6,  called  Rospiq- 
LIANl,  an  Italian  painter  and  wood-engraver,  was 
born  at  Vicenza  about  the  year  1510,  and  was 
working  at  Bologna  about  1540.  His  method  was 
'  chiaro-scuro.'  He  used  three  blocks,  and  did 
much  to  develop  the  process.  Among  other  cuts- 
by  him  are  the  following : 

Hercules  killing  the  Nemjean  Lion ;  after  Raphael. 

A  Sibyl  reading  a  Book  ;  after  the  same, 

Venus  embracing  Cupid. 

The  Death  of  Ajai ;  after  Potidoro  da  Caravaggio. 

Clelia  escaping  from  Porsenna's  camp. 

He  is  often  confused  with  Niccolo  Boldrini, 


PAINTERS  AND  ENGRAVERS. 


VICENTINO,  Niocol6.    See  Boldrini. 

VICENZA,  PASQ0AL1NO  DE.     See  Rossi. 

VICKERS,  Alfbed,  an  English  landscape  painter, 
■was  bom  at  Newington,  Surrey,  in  1786.  He  was 
eelf-taught,  and  studied  much  from  nature,  and 
from  the  works  of  the  Dutch  masters.  His  pic- 
tures were  pleasant,  but  without  much  individuality 
or  real  insight  into  nature.  He  exhibited  at  the 
Royal  Academy,  the  British  Institution,  and  at 
Sulfolk  Street  from  1814  to  1868,  and  died  in  the 
latter  year. 

VICKERS,  Alfred  QoMERSAL,  an  English  marine, 
landscape,  and  subject  painter,  was  born  in  Lambeth 
in  1810.  He  was  the  son  of  Alfred  Vickers,  by 
whom  he  was  taught.  From  the  age  of  seventeen, 
he  began  to  exhibit  at  the  Royal  Academy,  in 
Suflfolk  Street,  and  at  the  British  Institution.  He 
was  commissioned  by  Charles  Heath  to  make  draw- 
ings in  Russia  for  publication  in  the  '  Annuals.' 
For  this  work  he  received  £500.  He  was  just 
beginning  to  be  known,  when  he  died  in  Penton- 
ville,  January  12th,  1837.  His  sketches  were  sold 
at  Christie's.  Four  of  his  water-colour  drawings 
are  in  the  South  Kensington  Museum. 

VICO,  Enea,  (Vicds,  or  Vighi,)  engraver  and 
archaeologist,  was  born  at  Parma  in  the  year  1623. 
He  went  at  an  early  age  to  Rome,  where  he  was 
first  instructed  by  Tommaso  Barlacchi,  an  engraver 
and  print-seller,  for  whom,  in  1541-2,  he  engraved 
a  series  of  twenty-four  grotesques.  He  soon  reached 
excellence,  studying  successively  the  manners  of 
Giulio  Bonasone,  Agostino  Veneziano,  Caraglio, 
and  especially  Marc  Antonio.  Passavant  dates 
from  about  1650  the  development  of  a  manner  of 
his  own,  remarkable  for  delicacy  of  execution  and 
the  skilful  use  of  fine,  closely-set  lines.  Cosmo  I. 
invited  him  to  Florence,  where  he  engraved  some 
of  the  best  works  of  Michelangelo,  with  por- 
traits of  Charles  V.  and  Henry  II.  (that  of  the 
former  monarch  has  been  erroneously  stated  to 
have  been  engraved  by  him  on  wood,  in  which  it 
does  not  appear  that  he  ever  worked  at  all).  He 
also  worked  for  a  time  in  Venice.  In  1554  he 
brought  out  engravings  of  twelve  imperial  medals 
with  descriptions  ;  in  the  following  year  a '  Treatise 
on  Medals,'  and  in  1557  a  series  of  Empresses,  with 
their  biographies.  He  also  engraved  a  variety  of 
medals,  and  a  set  of  thirty-six  antique  gems. 
Ho  died  at  Parma  in  1567.  Bartsch  assigns  494 
plates  to  him,  and  Passavant  503.  When  he  did 
not  sign  his  plates  with  his  name  at  length,  he 
marked  them  with  the  initials  jE.  V-,  sometimes 
upon  a  tablet,  and  sometimes  without  it.  He  also 
occasionally  signed  A  E  N.  V.  F  The  following 
are  his  most  noteworthy  prints  : 

Charles  V.,  surrounded  by  emblematical  figures,  in- 
scribed, Inventum  sculptumque  ab  Aeiiea  Vico  Far- 
meTi3f^  MUL. 

Bust  of  Giovanni  de'  Medici,  in  a  border.    1550. 

Bust  of  Cosmo  de'  Medici,  when  young. 

Bust  of  Alfonso  II.,  Duke  of  Ferrara. 

The  Army  of  Charles  V.  passing  the  Elbe  ;  from  his 
own  design. 

The  Battle  of  the  Amazons ;  inscribed,  Bellum  Amazo- 
nvm.     1543. 

A  Female  Figure,  with  her  arms  extended,  over  which 
appears  au  Owl ;  after  Farmigiano.     1548. 

Vulcan  and  Venus  (a  free  subject);  after  the  same.  1543. 

Jupiter  and  Leda;  after  Michelangelo. 

A  Bacchanalian  subject ;  after  the  same. 

Vulcan  anil  the  Cyclops  ;  after  Frimaticcio. 

The  Muses  upon  Parnassus. 

Apollo  and  Cupid  ;  after  Baccio  BandiruUi. 

The  Academy  of  Baccio  Bandinelli ;  after  the  same. 


The  Conversion  of  S.  Paul ;  after  F.  Salviati. 

The  Battle  of  the  Lapitha  and  Centaurs ;  after  the  same, 
1542. 

Judith  with  the  Head  of  Holof ernes;  after  Michel- 
angelo. 

The  Entombment  of  Christ ;  after  Raphael.     1548. 

The  Death  of  Lucretia.     1541. 

The  Annunciation  ;  after  Titian. 

A  set  of  twelve  Vases;  from  designs  by  Polidoro  da 
Caravaggio. 

A  set  of  fifty  plates  of  National  Costumes ;  from  hts 
own  designs. 

VICO,  Francesco  de,  a  painter  whose  name  is 
only  known  from  two  entries  in  the  archives  of 
the  hospital  at  Milan.  On  September  4,  1472, 
Vico,  "  who  had  painted  the  Duke  and  Duchess  on 
a  canvas  placed  in  the  chapel "  [of  the  hospital], 
was  ordered  to  "re-fashion"  these  heads  "after 
the  manner  of  those  over  an  altar  in  the  Cathedral," 
and  in  the  same  year  he  received  a  certain  sum 
on  account  for  two  paintings  representing  "the 
Pope  and  the  rulers  of  Milan."  Vico's  canvases 
were  kept  in  the  small  chapel  which  in  the  15th 
and  16th  centuries  stood  in  tlie  centre  of  the  great 
courtyard  of  the  hospital,  and  every  year,  on  the 
occasion  of  the  Festa  del  Perdono,  they  were 
publicly  exhibited  for  a  few  days,  and  were  hung 
on  either  side  of  the  principal  entrance  •  hence 
later  writers  confused  them  with  Vincenzo  Poppa's 
paintings  in  the  colonnade,  though  these  were 
frescoes  and  represented  totally  different^  subjects, 
namely,  the  ceremonies  attending  the  laying  of  the 
foundation  stone  of  the  hospital.  The  chapel  in 
the  courtyard  was  destroyed  in  the  17th  century, 
and  Vico's  canvases  probably  perished  at  the  same 
time  and  were  replaced  by  copies.  These  copies 
are  still  preserved  in  the  council  chamber  of  the 
hospital,  and  in  spite  of  their  obviously  late 
character  are  spoken  of  by  some  writers  as  Vico's 
original  works.  They  represent  Francesco  Sforza 
and  Bianca  Maria  kneeling  before  Pope  Pius  II., 
who  grants  them  permission  to  build  the  hospital, 
and  the  Duke  and  Duchess,  attended  by  their 
followers,  making  their  ofEerings  at  the  altar  of  the 
Annunciation.  C.  J.  Ff. 

VICTOORS,  Jan,  (Fictoors,  Fictoor,)  a  Dutch 
painter,  was  bom  at  Amsterdam  in  1620.  He  was 
educated  in  the  school  of  Rembrandt,  and  worked  in 
his  atelier  in  1635-40.  He  must  not  be  confused 
with  Johannes  Victor,  whose  proper  surname  was 
Wolfvoet  (q.  v.).  His  works  are  better  known  than 
those  of  some  other  pupils  of  Rembrandt,  but 
scarcely  anything  is  recorded  of  his  life.  Some  of 
his  pictures  show  much  affinity  with  those  of  his 
master,  but  his  hand  was  apt  to  get  heavy.  Very 
many  of  his  subjects  are  taken  from  the  Old  Testa- 
ment, but  he  also  painted  genre,  landscapes,  peasant 
assemblies,  markets,  charlatans,  &c.  The  date  of 
his  death  is  uncertain,  but  it  took  place  at  Amster- 
dam after  1672.     Works: 

Joseph         interpreting        the 
Dreams.     1648. 

The  Dentist.     1654. 

The  Pork  Butcher. 

Village  Wedding. 

Esther  and  Haman.     1632. 

David  and  Samuel. 

Capture  of  Samson. 

Ruth  and  Boaz. 
(And  three  others.) 

The  Finding  of  Moses.     1653. 

The  Prophetess  Anna.     1643. 


Amsterdam.  R 

Museum. 

Antwerp. 
Brunswick. 

n 

Museum 
Gallery. 

Copenhagen. 

„ 

Dresden. 
Louvain. 
London.        Bi 

»t 

Museum 
•idgewater 

Bridgewater )  .j,,,^^  blessing  his  Son. 
Gallery.   J 


29T 


A   BIOGRAPHICAL   DICTIONARY   OF 


Slunich.  Gallery.    Tobias    recoveruig    his    Sight. 

1651. 

„  Portrait  of  an  Old  Man. 

Paris.  Louvre.     Isaac  blessing  Jacob. 

„  Young  Lady  at  a  Window. 

VICTOR,  Jakob,  (or  Gucomo,)  was  a  Dutch 
painter  of  the  17th  century.  Works  by  him  are 
at  Dresden,  Copenhagen,  and  Munich.  His  'Barn- 
yard '  in  the  last-named  gallery  is  ascribed  in  the 
catalogue  to  Hondecoeter,  whose  forged  signature 
appears  upon  it. 

VICTOR,  Johannes.    See  Wolfvoet. 

VICTORIA,  Vicente,  was  born  at  Valencia  in 
1658.  He  at  first  studied  literature,  philosophy, 
and  theology,  but  had  a  preference  for  art. and  went 
when  he  was  young  to  Rome,  where  he  became  a 
scholar  of  Carlo  Maratti,  and  studied  from  Raphael 
and  the  antique.  He  was  appointed  painter  to  the 
<;ourt  of  the  Grand  Duke  Cosmo  of  Tuscany,  whose 
portrait  he  painted.  He  afterwards  settled  at 
Xativa,  in  Valencia,  where  he  painted  pictures  for 
the  churches  and  convents  of  Valencia;  and  wrote 
poetry,  as  well  as  part  of  a  '  History  of  Painting.' 
He  finally  returned  to  Rome  and  became  antiquary 
to  the  Pope.  He  died  in  that  city  in  1712.  His 
portrait  is  among  those  of  the  distinguished  artists 
in  the  Florentine  Gallery.  Among  other  plates  he 
has  left  are  the  following : 

The  Madonna  di  Foligno ;  after  Raphael. 
The  Last  Supper ;  after  Giro  Ferri. 
The  Kesurrection ;  after  the  same. 

VICUS.     See  Vice. 

VIDAL,  DiEQO,  the  elder,  a  Spanish  historical 
painter,  was  born  at  Valmaseda  in  1583.  He 
painted  a  picture  of  a  naked  Christ,  and  one  of  the 
Virgin  with  the  Infant  in  her  arms,  which  were 
placed  in  the  cathedral  of  Seville,  of  which  he  was 
a  prebend.  Pacheco  speaks  of  Vidal's  drawings  in 
eulogistic  terms.  He  died  at  Seville  in  1615.  He 
was  called  'the  elder'  to  distinguish  him  from  his 
nephew,  Vidai  de  Liendo. 

VIDAL,  DiONlsiO,  was  bom  at  Valencia  about 
1670,  and  was  the  disciple  and  travelling  com- 
panion of  Antonio  Palomino.  At  Valencia  he 
painted  the  vaults  of  the  church  of  San  Nicola  in 
fresco,  from  designs  furnished  by  Palomino.  He 
also  painted  pictures  in  several  other  churches.  He 
<iied  at  Tortosa  while  employed  on  the  chapel  of 
Nuestra  Senora  de  la  Cinta.  The  year  is  unknown. 
VIDAL,  Felipe,  engraved,  in  1741,  the  arms  of 
Lorca  for  Morote's  history  of  that  city.  He  like- 
-wise  furnished  the  plates  to  the  work  of  Cristobal 
Rodriguez  on  Spanish  polygraphy. 

VIDAL,  G^RADD,  a  French  engraver  and  etcher, 
was  born  at  Toulouse  in  1742.  He  resided  chiefly 
in  Paris,  where  lie  had  long  to  contend  with  poverty 
before  his  powers  became  known.  His  death 
occurred  in  that  city  in  1804.  He  engraved  a 
variety  of  plates  after  the  modern  French  painters, 
among  them  the  following  : 

Jupiter  and  lo  ;  after  Ch.  Monnet. 
Jupiter  and  Antiope  ;  after  the  same. 
Venus  and  Adonis  ;  after  the  same. 
Biualdo  and  Armida  ;  after  the  same. 
Paris  and  Helen  ;  after  David.     1788. 

VIDAL,  Josef,  a  painter  of  battles  and  genre 
subjects,  was  born  at  Vinaroz,  and  studied  at 
Valencia  under  Est^ban  March,  of  whose  style  he 
became  a  successful  imitator.  He  had  a  son  of  the 
same  name  as  himself,  who  was  also  a  painter. 

VIDAL,  L.,  was  a  painter  of  fruit,  flowers,  dead 

298 


birds,  and  other  natural  subjects.  Of  his  life 
there  is  no  account,  but  his  manner  resembles  that 
of  the  elder  Van  Os.  He  appears  to  have  been  a 
native  of  northern  France,  or  at  least  to  have  worked 
there  in  the  early  years  of  the  19th  century.  The 
Lille  Museum  has  a  picture  by  him  of  fruit, 
flowers,  and  game,  on  a  table. 

VIDAL,  Vincent,  was  bom  at  Carcassonne,  and 
became  a  pupil  of  Delaroche  and  the  Ecole  des 
Beaux  Arts.  His  exhibits  at  the  Salon  were  well 
known,  and  appeared  regularly  from  1843  until 
1887.  He  obtained  medals  in  1844  (third-class) 
and  1849  (second-class).  Among  his  best  works 
may  be  named  '  fitang  de  Qiiimerets  '  and  '  La 
Source.'  He  was  admitted  to  the  Legion  of 
Honour  in  1852.     He  died  in  1887. 

VIDAL  DE  LIENDO,  Diego,  called  Vidal  the 
TOUNQER,  born  at  Valmaseda  in  1602,  was  a  nephew 
of  Vidal  the  elder,  and  like  him  was  both  a  painter 
and  a  canon  of  Seville  cathedral.  He  also  followed 
his  uncle's  example  in  going  to  Rome  to  study 
art  and  divinity.  His  pictures  in  the  sacristy  of 
the  cathedral  at  Valencia  (engraved  by  Marc 
Antonio)  show  considerable  skill,  and  include  life- 
size  figures  of  various  Saints, and  a  copy  of  Raphael's 
'Michael  triumph  ng  over  Satan.'  Vidal  died  at 
Seville  in  1648.  He  possessed  a  fine  collection  of 
pictures. 

VIEILLEVOYE,  Joseph  Barthel^mt,  a  Flemish 
histori''al  and  subject  painter,  was  born  at  Verviers 
in  1798.  He  studied  in  the  Antwerp  Acaderny,, 
and  became  director  of  that  of  Liige.  He  died 
in  1855.  There  is  by  him  : 
Brussels.  Museum,    Head  of  an  old  Man. 

VIEIRA,  Francisco,  the  elder,  a  Portuguese 
painter  and  engraver,  was  born  at  Lisbon  in  1699. 
He  accompanied  the  Portuguese  ambassador  to 
Rome,  and  there  studied  art  in  the  school  of 
Trevisani,  and  further  improved  himself  by  copy- 
ing Raphael  and  Michelangelo.  He  returned  to 
Portugal  at  the  age  of  sixteen,  and  was  com- 
missioned by  John  V.  to  paint  a  '  Mysteries  of 
the  Eucharist.'  He  afterwards  designed  the  king's 
head  for  the  coins.  He  formed  an  attachment  to  a 
young  lady  of  a  high  family,  and  before  he  won 
her,  went  through  various  romantic  adventures. 
He  was  at  last  married,  at  Rome.  Vieira  was 
recalled  to  Portugal  by  the  king,  and  fixed  his 
residence  at  Lisbon,  where,  for  forty  years,  he 
painted  for  the  palace,  the  convent  of  Mafra,  and 
other  places.  In  1744  he  became  affiliated  to  the 
religious  order  of  Santiago.  In  1755  the  wife  for 
whom  he  had  encountered  so  many  adventures, 
died,  and  he  relinquished  the  pencil  to  spend  the 
rest  of  his  days  in  religious  exercises.  He  died 
at  Lisbon  in  1783.  Many  of  his  pictures  are  said 
to  have  perished  in  the  great  earthquake  at  Lisbon 
in  1755. 

VIEIRA,  Francisco,  the  younger,  son  of  the 
elder  artist  of  the  name,  studied  in  Italy,  especially 
from  the  works  of  Correggio  in  Parma.  Manyof  his 
drawings  from  Correggio,  Carracci,  and  Parmigiano 
were  subsequently  engraved.  He  came  to  England 
at  the  latter  end  of  the  18th  century,  and  exhibited 
at  the  Royal  Academy  in  the  years  1798  and  1799  ; 
one  of  his  pictures  is  described  as  '  Viriato,  the 
Lusitanian  chief,  exhorting  his  countrymen  to 
take  vengeance  for  the  perfidy  of  Galha  '  Vieira, 
during  his  stay  in  England,  lived  with  Bartolozzi, 
and  probably  studied  under  him,  for  he  is  said  to 
have  been  an  engraver.     He  married  and  returned 


PAINTERS  AND  ENGRAVERS. 


to  his  own  country,  where  he  became  first  painter 
to  the  king,  and  executed  some  historical  and 
allegorical  frescoes  for  the  palace  of  Ajuda.  He 
died  in  1805.  A  'Christ  Crucified'  by  him  is  in 
the  Lisbon  Academy. 

VIEL,  PiERHE,  a  French  engraver,  was  bom  in 
Paris  in  1755.  He  was  a  pupil  of  B.  L.  Provost. 
His  style  of  engraving  was  neat  and  finished  ; 
among  his  plates  we  may  name  : 

The  Judgment  of  Paris  ;  after  Eottenhamer. 

The  Bath  of  Diana ;  after  P.  Mettay. 

A  pair  of  Landscapes  ;  after  Ruysdael. 

Peace  bringing  back  Abundance  ;  after  Le  Brun. 

Death  of  Adonis  ;  after  P.  Veronese. 

VIELCAZAL,  Charles  Lonis,  French  painter; 
bom  in  Paris,  September  25, 1825  ;  became  a  pupil 
of  L^on  Cogniet.  His  first  appearance  at  tlie 
Salon  was  in  1848,  when  he  exhibited  'Un  Cabinet 
d'Antiquaire.'  His  choice  of  subjects  varied  from 
a  'Study  of  Fruit'  to  'The  Emperor  haranguing 
Stragglers  from  the  Army,  Smolensk.'  He  died  in 
1892. 

VIEN,  Joseph  Marie,  a  French  painter  and 
engraver,  was  born  at  Montpellier,  June  18,  1716. 
After  some  study  in  his  native  place,  he  entered 
the  studio  of  Natoire.  To  support  himself  while 
going  through  the  course  at  the  Academy,  he 
painted  for  a  picture-dealer.  After  obtaining  a 
first  medal  in  1742,  he  won  the  following  year 
the  Grand  Prix  de  Rome.  This  enabled  him  to 
continue  his  training  in  Italy,  where  he  spent  five 
busy  years.  Besides  the  usual  academical  studies 
and  copies,  he  painted  several  pictures  for  churches, 
and  designed  the  costumes,  triumphal  chariots, 
&c.,  for  a  masquerading  procession,  which  was 
very  successful.  After  a  tour  through  Italy,  he 
returned  to  France  in  1750.  On  his  way  to  Paris 
he  made  short  stays  at  Marseilles  and  Tarascon, 
where  he  received  some  commissions.  On  com- 
mencing practice  in  the  capital,  his  style  was  not 
readily  appreciated,  and  he  failed  to  obtain  admis- 
sion to  the  Academy  until  Boucher,  strangely 
enough,  had  made  a  strong  remonstrance  in  his 
favour.  He  was  received  on  the  30th  March, 
1754,  with  his  '  Dsedalus  and  Icarus,'  now  in  the 
Louvre.  Once  within  the  charriied  circle,  his  pro- 
gress was  rapid,  and  commissions  flowed  in  upon 
him  thickly.  His  atelier  was  thronged  with  pupils, 
amongst  whom  were  Vincent,  Suv^e,  and  Louis 
David.  Here  was  laid  the  foundation  of  the  classic 
school  which  was  soon  to  reign  supreme  in  French 
art.  Vien's  reputation  extended  so  widely  that  the 
Empress  of  Russia  and  the  King  of  Denmark 
sought  to  induce  him  to  enter  their  service,  but 
in  vain.  In  1775  he  was  appointed  Director  of 
the  French  Academy  at  Rome,  whither  he  was 
accompanied  by  David  and  two  other  pupils.  He 
introduced  several  reforms  in  the  working  of  the 
Academy,  and,  after  a  useful  directorate  of  six 
years,  returned  home  vid,  Naples.  On  settling  in 
Paris,  further  honours  and  a  pension  were  bestowed 
on  him.  These,  however,  were  swept  away  by  the 
Revolution,  and  he  once  more  applied  himself  with 
success  to  work.  He  was  made  a  Count  and  a 
Senator  by  Napoleon,  from  whom  he  also  received 
the  cross  of  Commander  in  the  new  Legion  of 
Honour.  The  veteran  continued  to  paint  till  the 
year  before  his  death,  which  took  place  in  Paris 
in  1809.  There  are  several  plates  etched  by  him. 
of  which  the  chief  are  a  series  of  about  thirty 
illustrations  of  the  masquerade  for  which  he  de- 
signed the  coetumes  in  his  student  days  at  Rome. 


Vien's  position  in  the  history  of  the  French  school 
was  very  accurately  described  by  himself.  He 
said  that  he  only  half  unclosed  the  door  which 
David  threw  wide  open.  The  following  is  a  list  of 
his  pictures  in  public  galleries : 

Angers. 
Epinal. 


Grenoble. 
Marseilles. 


Montpellier. 

Nancy. 
Nimes. 
Orleans. 


Paris. 


Limvre. 


Bouen.  Museum. 

Versailles.  Petit  Trianon. 


Museum.    The   Body  of    Hector  carried 
back  to  Troy. 
„  Parting  of  Hector  tmd  Andro- 

mache. 
„  Eape  of  Proserpine. 

„  Jesus  healing  the  Paralytic. 

„  Jesus  healing  the  Centurion's 

Son. 
„  S.  John  Baptist  in  the  Desert. 

S.  Gregory  the  Great.    1766. 
,,         Keligion. 
„  The  Crucifixion. 

„  Our  Lord  and  the  Disciples  at 

Emmaus.     1759. 
„  The  Resurrectiou. 

S.   Germain   and  S.   Vincent. 

1755. 
Dsedalus  and  Icarus.    1754. 
Sleeping  Hermit.     1750. 
Cupids,     Swans,    and     Doves. 

1758. 
Anger  of  Achilles. 
A  Prelate  invoking  the  Virgin. 
S.    Louis     and     Margaret    of 
Provence    visiting     S.    Thi- 
bault.     1774. 

O.J.D. 

VIEN,  Joseph  Marie,  painter,  and  son  of  J.  M. 
Vien  the  elder,  was  bom  in  Paris  in  1761.  He 
was  the  pupil  of  his  father  and  of  F.  A.  Vincent. 
He  died  in  1848.  His  portrait  group  of  himself 
and  his  wife  is  in  the  Rouen  Museum. 

VIEN,  Th^r^se,  nee  Rebool,  miniature  painter, 
was  the  wife  and  pupil  of  Joseph  Vien.  She  was 
born  in  Paris  in  1728,  and  studied  for  a  time  at 
the  Academy  of  S.  Luke  in  Rome.  In  1757  she 
became  an  Academician  ;  her  reception  piece,  a 
miniature  of  a  cock  and  hen,  %vith  a  new-laid  egg, 
is  in  the  Louvre.  She  exhibited  occasional  studies 
of  flowers  and  birds  at  the  Salon,  between  1757 
and  1767.     She  died  in  Paris,  December  28,  1806. 

Vi;feNOT  Nicolas,  a  French  engraver  who 
flourished  about  1630.  He  engraved  small  plates 
from  those  engraved  by  Pontius  after  the  portraits 
of  Philip  IV.  of  Spain  and  his  Queen,  Elizabeth  de 
Bourbon,  by  Rubens.  Another  little  known  en- 
graver of  the  same  name  was  active  about  fifty 
years  later. 

VIERGE,  Daniel,  was  bom  in  No.  34,  Rue  de 
la  Huerta,  Madrid,  on  March  5,  1851.  His  father, 
Vincente  Urrabieta  Ortiz,  was  one  of  the  most 
popular  Spanish  illustrators  of  his  day,  having 
prod  uced,  according  to  his  own  reckoning,  over  one 
million  drawings  in  the  course  of  his  career,  and  it 
was  perhaps  to  avoid  being  confused  with  Ids 
parent  that  the  son  elected  to  be  known  by  his 
mother's  maiden  name.  Born  into  an  atmosphere 
of  art,  his  earliest  plaything  was  a  pencil,  and  at 
the  age  of  three  he  was  able  to  draw  tliough  still 
incapable  of  reading.  Until  his  seventh  year  he 
was  SO' delicate  that  his  father  removed  to  Pinto 
outside  the  city,  with  such  effect  that  in  1864  he 
was  strong  enough  to  seek  admission  into  the 
Fine  Arts  Academy  of  Madrid,  where  he  was  at 
once  placed  in  the  highest  class,  and  studied  under 
Madrazo,  De  Hatt,  Borglini,  and  others.  So  rapid 
was  his  progress  that  in  July  1865  and  again  in' 
1866  he  gained  honourable  mention,  and  in  1867  a 
diploma  of  honour,  at  which  time  he  had  already 

299 


A  BIOGRAPHICAL  DICTIONARY  OF 


begun  his  life's  work  by  providing  illustrations  to 
•Madrid  la  Nuit,'  by  Eusebio  Blasco.  He  still, 
however,  remained  a  student  at  the  Academy  until 
1869,  in  which  year  he  went  to  Paris  with  the 
intention  of  becoming  a  painter  of  pictures.  The 
outbreak  of  the  Franco-German  war  soon  after  his 
arrival  overthrew  his  plans,  and  he  was  about  to 
return  in  desperation  to  his  native  land  when 
Charles  Yriarte,  the  Director  of  '  Le  Monde  Ilkistrd,' 
solved  his  difiBculties  and  incidentally  decided  his 
future  destiny  by  offering  him  work  upon  that 
journal.  Throughout  the  disastrous  days  of  the 
war,  the  siege,  and  the  Commune  he  laboured  in- 
defatigably  at  his  art,  fearless  and  tireless  in  his 
eager  search  for  material,  and  when  peace  was 
declared  his  position  as  the  head  of  the  French 
illustrators  was  assured.  Ue  contributed  not  only 
to  his  first  paper,  but  to  '  L'lUustration,'  '  Gil 
Bias,'  and  '  La  vie  moderne,'  supplying  at  the  same 
time  illustrations  to  numerous  books.  Victor  Hugo 
would  suffer  no  other  artist  to  deal  with  his  works, 
and  Vierge  made  drawings  for  'L'anii^e  terrible' 
in  1874,  'Le  Travailleurs  de  la  Mer'  in  1876, 
'L'homme  qui  rit'  and  '  Quatre-vingt-treize '  in 
1877,  and  'Les  Mis^rahles'  and  'Notre  Dame  de 
Paris '  in  1882,  while  books  by  other  authors  em- 
bellished by  him  were  Michelet's  '  Histoire  de 
France  '  and  '  Histoire  de  la  Revolution  ' ;  a  '  His- 
tory of  Christopher  Columbus '  and  '  Bosnia  and 
Herzegovina,'  by  his  early  patron,  Charles  Yriarte. 
Yet  in  spite  of  his  prodigious  productiveness,  he 
attracted  but  limited  notice  even  in  his  adopted 
country,  and  little  or  none  outside  its  boundaries 
until  the  pubHcation  by  Bonhoure  in  1882  of  his 
illustrations  to  a  till  then  well-nigh  forgotten 
Spanish  fiction,  'Don  Pablo  de  Segovia,'  by 
Francesco  de  Quevedo,  and  their  subsequent  re- 
publication with  an  English  translation  in  London, 
with  some  supplementary  drawings  which  a 
disaster  had  prevented  his  coni])leling  for  the 
original  issue.  While  still  engaged  upon  the  work 
he  was  suddenly  smitten  with  paralysis,  and  for 
two  years  remained  a  seemingly  hopeless  mental 
and  physical  wreck.  By  degrees,  however,  his 
memory  and  to  some  extent  his  powers  of  speech 
and  movement  returned,  but  he  never  recovered 
the  use  of  his  right  hand,  and  with  characteristic 
determination  set  himself  successfully  to  cultivate 
the  powers  of  his  left.  In  1889  the  original 
drawinjjs  for  '  Don  Pablo '  were  exhibited  at  the 
Paris  Exjiosition,  gaining  for  him  on  September 
29  a  Mddaille  d'honneur,  and  two  months  later  the 
Legion  of  Honour.  In  1891  his  illustrations  to 
'  L'Espagnole,' by  lllnule  Bergeral,  appeared,  and 
about  the  same  time,  contemplating  an  illustrated 
edition  of '  Don  Quixote,'  he  made  a  journey  through 
the  district  in  which  its  scenes  are  laid,  some  of 
the  results  of  which  were  shown  in  a  book  by  his 
friend,  August  F.  Jaccaci,  'On  the  Track  of  Don 
Quix(jte,'  published  in  Paris  in  1893,  and  in  English 
in  1897.  In  1894  '  La  Nonne  Alfarez,'  and  in  1895 
'The  Tavern  of  the  Three  Virtues,'  were  issued 
with  his  illustrations.  Towards  the  end  of  his 
life  he  retired  to  Boulogne-sur-Seine,  where  he 
died  in  May  1904.  Apart  from  his  brilliant  mastery 
of  the  technique  of  black-and-white  work,  his 
infallible  sense  of  decorative  effect,  his  earnest 
sincerity,  fertility  of  invention,  originality,  humour, 
and  knowledge,  he  is  notable  as  the  first  man  to 
fully  perceive  the  necessity  and  discover  the 
means  of  modifying  the  older  methods  of  drawing 
for  reproduction  to  meet  the  requirements  of 
300 


modern  mechanical  processes,  and  has  very  aptly 
been  entitled  "  The  Father  of  Modern  Illustration." 
He  found  it  a  lifeless,  convention-ridden  trade,  he 
left  it  a  living  and  growing  art,  and  countless  men, 
who  haply  never  heard  his  name,  have  profited, 
still  profit,  and  will  profit  by  his  exhaustless 
energy  and  ingenuity.  M.  B. 

VIERO,  Teodoro,  painter  and  engraver,  was 
born  at  Bassano  in  1740.  He  studied  under 
N.  Cavalli,  and  settled  later  in  Venice.  Here  he 
established  a  publishing  business,  and  issued 
several  important  sets  of  engravings,  among  them 
Giampiccoli's  landscapes  after  M.  Ricci,  and  also 
plates  by  P.  Monaco  and  V.  le  Febre.  Viero  him- 
self painted  miniature  portraits,  and  also  executed 
several  engravings  of  note  after  Zucchi,  Amigoni, 
Bassano,  Tiepolo,  Varotti,  and  others.  Among 
the  most  important  are  :  'The  Holy  Virgin  appear- 
ing to  St  Philip  Neri,'  after  C.  B.  CignaroUi ; 
'The  Birth  of  Christ,' after  Bassano;  'The  Passion 
of  Christ,' — fourteen  plates  after  Tiepolo  ;  '  The 
Penitent  Magdalen,'  after  Giordano ;  and  a  set  of 
twelve  life-size  male  and  female  heads  after 
G.  B.  Piazetta.  Viero  died  at  Venice  in  1795. 
,  M.H, 

VIQEE,  Elisabeth  Louise.    See  Le  Brun. 

VIGi^E,  Louis,  a  French  painter  of  the  18th 
century,  now  remembered  chiefly  as  the  father  of 
Madame  Vigde  Le  Brun,  was  a  portraitist  of  some 
merit,  excelling  chiefly  in  pastel.  He  was  a  man 
of  much  culture  and  social  talent,  and  his  house 
was  frequented  by  a  large  circle  of  distinguished 
men  and  women.  He  died  in  1767,  from  the  effects 
of  an  accident. 

VIGER,  Jean  Louis  Hector,  historical  painter, 
was  born  at  Argentan  in  1819.  He  entered  the 
ficole  des  Beaux  Arts  in  1844,  and  was  the  pupil 
of  Monvoisin,  Drolling,  and  Paul  Delaroche.  He 
began  his  artistic  career  by  painting  miniature- 
portraits,  decorations  for  fans,  etc.  His  works 
appeared  at  the  Salon  from  1845  to  1879,  in  which 
latter  year  he  died  in  Paris.  There  are  examples 
of  his  work  in  the  Museum  of  his  native  town,  and 
also  in  those  of  Orleans,  Versailles,  and  in  many 
French  provincial  churches.  He  painted  a  picture 
for  the  Salon  des  Grands  Chanceliers  in  the  Palais 
de  la  Legion  d'Honneur,  representing  the  first 
distribution  of  the  cross  of  the  Legion  in  the 
Church  of  the  Invalides. 

VIGEVANO,  Ambrogio  da,  was  a  Milanese 
painter  living  in  the  16th  century,  and  is  said  to 
have  been  Cristoforo  De'  Motti's  fellow-worker  in 
the  frescoes  at  Cantii,  painted  in  1514.  Crowe  and 
Cavalcaselle  incline  to  the  belief  that  he  was 
identical  with  the  Ambrogio  Bevilacqua,  mentioned 
by  Loraazzo,  who  executed  a  '  Charity  '  and  other 
similar  designs  on  the  Poor  House  of  Milan 
in  1486,  and  was  a  salaried  workman  in  the 
cathedral  of  that  city  for  some  j'ears.  The  Brera, 
at  Milan,  possesses  a  '  Virgin  and  Child,  between 
King  David  and  St.  Peter  Martyr,'  signed  Ambrogio 
Bevilacqua,  and  dated  1502.  The  dates  of  his 
birth  and  death  are  alike  unknown. 

VIGHl.     See  Vico. 

VIGIER.     See  Court,  Jean. 

VIGILA, ,  was  a  monk  of  Albelda,  and  the 

earliest  known  artist  of  Spain.  Cean  Bermudez 
discovered,  in  the  royal  library  at  Madrid,  a  missal 
illuminated  by  him,  and  adorned  with  rude  por- 
traits of  ancient  kings,  executed  about  the  end  of 
the  10th  century. 

VIGILIA,  Thomas  de,c.  1435— c.  1495,  a  native 


PAINTERS  AND  ENGRAVERS. 


of  Palermo.   Painter  of  religious  subjects ;  frescoes 
and  on  panel. 

Alcamo.      Church  of  St.  \  Out    Lady    and    ChUd    and 
Mary.  J      Angels 


Palermo. 


Museum.  Altar-piece:  The  Coronation 
of  the  Blessed  Virgin,  SS. 
John  the  Baptist,  John  the 
Evangelist,  Michael,  and 
Leolucas.patron  of  Corleone; 
on  the  predella,  a  Pieti  and 
the  Apostles. 
Triptych  :  Our  Lady  and  Child, 
"  ''  SS.   Agatha,  Lucy,  Joseph, 

Calogerus,  Christopher,  and 
Dominic  (signed  and  dated 
1486).  W.H.J.  W, 

VIGNALI,  Jacopo,  was  bom  at  Prato  Vecchip 
in  1592,  and  was  a  disciple  of  Matteo  Roselli. 
His  style  resembles  that  of  Quercino.  His  prin- 
cipal works  in  oil  are  in  the  church  of  San  Simone, 
at  Florence  ;  but  he  appears  to  greater  advantage 
in  the  frescoes  with  which  he  decorated  the 
chapel  of  the  Buonarroti.     He  died  in  1664. 

VICiNAUD,  Jean,  a  French  painter,  was  bom  at 
Beaucaire  in  1775.  He  was  a  pupil  of  David,  and 
became  director  of  the  Art  School  at  Nlmes.  He 
exhibited  many  portraits  and  historical  pictures  at 
the  Salon  from  1808  onwards,  and  painted,  for  the 
church  of  S.  Nicolas  du  Chardonneret  a  '  Raising 
of  Jairus'  Daughter,'  for  the  church  of  St.  Louis 
d'Antin  a  '  Flight  into  Egypt,'  and  for  the  cathe- 
dral of  Beaucaire  a  '  Christ  appearing  to  the  Mag- 
dalen.' In  the  Nimes  Museum  there  are  portraits 
of  the  Marquis  and  Marquise  de  Lamote  by  him; 
a  portrait  of  Liszt  when  a  child,  and  '  Mercury 
teaching  the  Lyre  to  Araphion.'  He  died  at 
Ntmes,  November  10,  1826. 

VIGNE,  Edodabd  de,  landscape  painter  and 
etcher,  a  younger  brother  of  F61ix  de  Vigne,  was 
born  at  Ghent  in  1808.  He  studied  at  the  Ghent 
school  of  design,  and  afterwards  under  Surmont  de 
Volsberghe.  In  1834  he  won  the  pension  for  Italy, 
where  he  accordingly  spent  the  years  1836-8.  He 
visited  England  in  1841,  and  died  at  Ghent  in 
1866.  His  drawings  were  much  esteemed;  and 
he  left  a  few  etchings.     Pictures  : 

View  of  Subiaco. 

Capuchin  Monastery  at  Cava.     1838. 

In  the  Forest  of  Alife.     {Ghent  Museum.) 

VIGNE,  F£lix  de,  painter,  etcher,  and  art 
writer,  was  born  at  Ghent  in  1806.  His  father, 
the  decorative  painter  Ignace  de  Vigne,  whs  his 
first  instructor,  and  afterwards  he  was  placed  under 
Paelinck  at  Brussels.  He  devoted  himself  partly 
to  portraiture,  but  more  especially  to  depicting  the 
costumes  of  the  middle  ages,  for  which  purpose 
he  made  extensive  researches  in  Ijis  own  country, 
and  in  France,  England,  and  Germany.  His  '  Ke- 
cueils  des  Costumes  du  Moyen-age '  contains  a 
thousand  illustrations  drnwa  and  etched  by  him- 
self, with  descriptive  letterpress.  He  was  a  pro- 
fessor of  the  Ghent  Academy,  and  president  of  the 
Society  of  Arts  and  Sciences  there.  He  died  at 
Ghent  in  1862.     Pictures  : 

Mary  of  Burgundy.  . 

The  Heads  of  the  Guilds  entreating  the  favour  of  the 

Ministers  Hergonet  and  Imbercourt. 
Philip  van  Artevelde  haranguing  the  Ghent  Populace. 
The  Marriage  Procession  of  the  Ghent  Painter,  Van  der 

Meer. 
The  three  Ages  of  Woman. 
A  Fair  in  the  15th  Century.    (Ghent  Museum.) 


VIGNERON,  Pierre  Roch,  a  French  painter  and 
lithographer,  was  bom  at  Vosnon  (Aube)  in  1789. 
He  was  a  pupil  of  Gautherot  and  of  Gros,  and  studied 
also  under  Roques  of  Toulouse,  in  which  town  he 
practised  for  a  time  as  a  miniaturist.  He  also 
made  some  essays  in  sculpture,  but  finally  devoted 
liimself  to  the  painting  of  genre  jiictures.  He 
also  executed  a  number  of  lithographs,  chiefly 
portraits.     He  died  in  1872. 

VIGNON,  Claude,  a  French  painter  and  etcher, 
was  born  at  Tours  about  1590.  He  was  the  son  of 
a  valet  in  the  household  of  Henry  IV.,  and  was 
protected  by  that  king's  son,  Louis  XIII.,  and  by 
i;ichelieu.  He  studied  first  in  Spain,  and  then  in 
Italy,  where  he  attached  himself  to  the  style  of 
Caravaggio.  On  returning  to  France  he  became 
a  pupil  of  Fr6minet,  whose  style  he  imitated 
with  some  success.  He  died  in  Paris  in  1670. 
lie  was  an  art  critic  and  a  professor  in  the  Academy. 
His  '  Christ  with  the  Doctors  '  is  in  the  Grenoble 
Museum,  and  his  'Baptism  of  the  Eunuch'  in 
Notre  Dame.  There  are  by  this  artist  twenty- 
seven  etchings  of  Biblical  subjects,  among  them 
the  following: 

A  set  of  thirteen  scenes  from  the  Life  of  Christ. 

St.  John  in  the  Desert. 

St.  Philip  baptizing  the  Eunuch  of  Queen  Oandaco. 

The  Martyrdom  of  St.  Andrew. 

The  Crowning  of  the  Virgin. 

He  is  said  to  have  been  the  father  of  thirty-four 
children,  and  left  three  sons,  Cladde  FRANgois, 
Nicolas,  and  Philippe,  who  were  painters. 

VIGNON,  Henri  FBANgois  Jdles  de,  painter, 
was  born  at  Belfort  (Haut  Rhin),  October  11, 1815. 
He  entered  the  :feoole  des  Beaux  Arts  in  1831,  and 
was  a  pupil  of  Cogniet.  He  gained  medals  of  the 
third  class  in  1847,  1861.  He  painted  chiefly 
portraits,  or  studies  of  single  figures,  exhibiting 
constantly  at  the  Salon  from  1833  to  1882.  His 
portrait  of  General  le  Vicomte  Paultre  de  Lamotte 
is  in  the  Versailles  Museum.     He  died  in  1883. 

VIGNON,  Philippe,  painter,  the  son  of  Claude 
Vignon,  was  born  in  Paris  in  1634,  and  became  a 
member  of  the  Academy  in  1667.  In  the  Versailles 
Museum  there  are  by  him  portraits  of  Mauperch6, 
the  painter,  and  of  Mesderaoiselles  de  Blois  et  de 
Nantes,  daughters  of  Louis  XIV.  and  Madame  de 
Maintenon.     He  died  in  1701. 

VIGOROSO  DA  SIENA.  An  altar-piece  in  the 
public  gallery  of  Siena  is  inscribed  with  this  name, 
and  the  date  1280.  .     ,.,, 

VIGRI,  Caterina,  was  born  at  Bologna  m  1414. 
She  is  called  'La  Santa  di  Bologna,'  having 
been  canonized  in  1712.  She  practised  painting 
in  her  youth,  and  then  entered  a  convent  at 
Bologna,  where  she  decorated  the  missals  with 
miniatures  and  illuminations.  She  died  in  1463. 
A  'S.  Ursula  and  her  companions'  by  her,  dated 
1452,  is  in  the  Bologna  Gallery,  and  the  same 
subject,  dated  1456,  in  the  Venice  Academy. 
VIJL,  J.  den.  See  Den  Utl. 
VIJT  DEN  BROECK.  See  Uijtenbrouck. 
VILA,  Lorenzo,  was  the  son  and  pupil  of 
Senen  Vila,  and  was  born  in  Murcia  in  1682.  He 
painted  history  in  the  style  of  his  father,  and  had 
gained  considerable  reputation  by  pictures  for 
churches,  particularly  a  'Holy  Family,'  for  the 
refectory  of  San  Fulgenzio,  at  Murcia,  when  he 
became  a  monk.     He  died  in  1713. 

VILA,  Senen,  was  a  native  of  Valencia,  and  a 
disciple  of  Est6ban  March.      In  1678  he  settled 

301 


A  BIOGRAPHICAL  DICTIONARY   OF 


at  Murcia,  where  he  painted  a  great  number  of 
pictures  for  the  churches  and  other  buildings, 
particularly  for  the  convent  of  Santa  Isabel,  for 
tlie  monastery  of  San  Domingo  el  Real,  and  for  the 
Enfermaria  di  San  Francisco.     He  died  in  1708. 

VILADOMAT,  Antonio,  was  born  at  Barcelona 
in  1678.  He  was  a  pupil  of  Bautista  Perramon. 
When  he  was  twenty-one  he  was  commissioned  to 
paint  a  series  of  scenes  from  the  life  of  St.  Bruno, 
for  the  Carthusians  of  Monte  Allegre.  He  also 
painted  three  subjects  from  the  life  of  St.  Francis, 
for  the  Franciscans  of  Barcelona,  and  produced 
landscapes,  battle-pieces,  and  portraits.  For  the 
last  seventeen  years  of  his  life  he  was  paralyzed 
in  the  hands.  He  died  m  1755.  He  left  a  son 
named  Josef  Viladosiat,  who  was  also  a  painter, 
but  very  inferior  to  his  father.  Works  of  both  are 
to  be  found  in  the  churches  and  convents  of 
Barcelona. 

VILLACIS,  Nicolas  dr,  was  of  a  noble  family 
of  Murcia,  where  he  was  born  about  the  middle  of 
the  17th  century.  After  receiving  some  instruction 
in  his  native  city,  his  parents  sent  him  to  Madrid, 
to  the  school  of  Velazquez.  He  afterwards  travelled 
to  Rome,  and,  on  his  return  to  Spain,  established 
himself  at  Murcia,  where  he  painted,  among  other 
things,  a  series  of  pictures  from  the  Life  of  S. 
Blaise,  in  the  convent  of  La  Santissima  Trinidad 
de  Calzados  ;  and  the  Martyrdom  of  St.  Lawrence, 
in  the  church  of  the  Dominicans.  These  pictures, 
which  were  praised  by  Palomino  as  the  works  of  a 
great  artist,  no  longer  exist,  having  already  been 
destroyed  by  damp  in  the  beginning  of  the  present 
century.  Being  rich,  Villacis  painted  chiefly  for 
his  amusement,  and  declined  the  proffered  post  of 
court  painter,  and  also  the  invitation  of  Velazquez 
to  take  part  in  the  decoration  of  the  Alcazar.  His 
correspondence  with  Velazquez  is  said  to  be  still  in 
existence.     He  died  in  1690. 

VILLAFRANCA  -  MALAGON,  Pedro  de,  a 
Spanish  engraver  and  painter,  was  born  at  Alcolea, 
La  Mancha,  at  the  beginning  of  the  17th  century. 
He  received  instruction  at  Madrid  from  Vincenzio 
Carducho,  but  preferred  the  burin  to  the  brush.  He 
engraved  a  great  number  of  title-pages,  portraits, 
and  illustrations,  particularly  for  the  Books  of  the 
Religious  Orders  of  Santiago,  Calafrava,  and  Alcan- 
tara. These  he  also  embellished  with  portraits  of 
Philip  IV.,  to  whom  he  was,  about  1654,  appointed 
engraver  in  ordinary,  with  a  salary  of  one  hundred 
ducats.  In  the  next  three  years  he  engraved  'The 
Pantheon  of  the  Escorial,'  and  a  portrait  of  the 
king.  Between  1660  and  1676  he  engraved  many 
illustrations  for  books,  and  a  number  of  portraits, 
including  those  of  Calderon  Carlos  II.,  Anne  of 
Austria,  Louis  XIV.,  and  Maria  Theresa  of  Austria. 
For  the  church  of  San  Felipe  el  Real  at  Madrid, 
he  painted  a  series  of  pictures  for  the  festival  of 
the  canonization  of  S.  Thomas  of  Villanueva.  The 
time  of  his  death  is  uncertain,  but  it  was  subsequent 
to  1719. 

VILLAIN,  GERARD  RSnaud,  a  French  engraver, 
flourished  about  the  year  1760.  He  engraved  a 
portrait  of  M.  Dufour  de  Villeneuve,  after  Mau- 
perin. 

VILLAMENA,  Francesco,  draughtsman  and 
engraver,  was  born  at  Assisi  about  the  year  1566. 
He  is  generally  supposed  to  have  been  a  fellow- 
student  with  Agostino  Carracci,  under  Cornells 
Cort.  After  this  he  visited  Rome,  where  he  drew 
and  engraved  after  the  antique.  He  had  also 
practised  painting,  but  this  he  wholly  abandoned 
302 


in  favour  of  engraving.  He  died  in  1626.  His 
style  of  engraving  is  bold  and  open,  but  somewhat 
mannered,  and  unfinished.  He  executed  three 
hundred  and  sixty  plates ;  they  are  occasionally 
signed  with  his  name  at  length,  sometimes  with 
the   initials   F.  V.  F.,  and   he   occasionally  used 

the  monogram    j^Ky^^^      The   following  are 

among  his  best  plates  : 

Cardinal  Bellarmin. 

Christian  IV.,  King  of  Denmark. 

Galileo. 

St.  Ttieresa  in  her  Cell.     From  his  own  design. 

Mary  M.igdalene  penitent,  crowned  by  an  Angel.    Do. 

St.  Francis  praying  before  a  Crucifix.    Do. 

A  set  of  six  grotesque  Figures,  one  of  which  is  a  Monk 

begging,  accompanied  by  two  Children.     Do. 
A  print  called '  The  Boxers,'  representing  a  Man  fighting 

a  crowd  of  people.     Do. 
Another  print, called '  The  Antiquary,'  representing  John 

Alto  standing  in  one  of  the  streets  of  Rome.     Do. 
Moses  showing  the  Brazen  Serpent  to  the  Israelites ; 

after  Ferrau  Faenzone. 
The  Virgin  and  Infant  Christ,  with  St.  Francis ;  after 

tkf  same. 
The  Holy  Family ;  after  Muziano. 
The  Last  Judgment. 
St.  Bruno,  with  his  Companions,  doing  penance  in  the 

Desert ;  after  Lanfranco. 
The  Descent  from  the  Cross  ;  after  Barocci. 
St.  Francis ;  after  the  same. 
The  Presentation  in  the  Temple  ;  after  Paolo  Veronese. 

This  plate  was  begun  by  Agostino  Carracci,  and  WEts 

finished  by  Villamena. 
St.  Bernard,  with  the  Virgin  in  the  clouds  ;  after  Vanni. 
A  set  of  twenty  Scriptural  subjects,  from  '  Raphael's 
Bible.' 

VILLARD  DE  HONNECODRT,  (or  Wilars,) 
a  famous  architect  and  draughtsman  of  the  13th 
century,  who  left  a  book  of  drawings,  now  in  the 
Library  of  Paris,  which  was  published  by  Darcel  in 
1858.  It  contains  drawings  of  machines,  architec- 
ture, monuments,  human  figures,  and  animals. 

VILLAVICENCIO.      See    Ndnez    De    Villa- 

VICENOIO. 

VILLEGAS  MARMOLEJO,  Pedro  de,  was  bom 
at  Seville  in  1520.  He  was  a  pupil  of  Vargas,  and 
also  studied  in  Italy  from  the  works  of  Raphael. 
He  died  in  1597,  and  was  buried  in  the  church  of 
San  Lorenzo,  where  an  '  Annunciation,'  and  a 
'  Virgin  and  Child,'  by  him,  adorn  the  altar.  His 
friend  Arias  Montano  wrote  the  epitaph  on  his 
tomb.  His  fine  '  Visit  of  Mary  to  Elizabeth,'  in  the 
cathedral  at  Seville,  has  been  attributed  to  Pedro 
Campafia,  as  also  has  a  'Lazarus  in  pontifical 
Robes,'  which  he  painted  for  the  hospital  of  the 
Lazarinos. 

VILLEGUAIN  (or  Villeguin).  See  Ville- 
QniN. 

VILLEMSENS,  Jean  Blaise,  painter,  was  bom 
at  Toulouse  in  1808.  He  first  studied  in  his  native 
town,  and  at  the  age  of  seventeen  started  for  Paris, 
where  he  gained  admission  to  the  atelier  of  Gros, 
and  in  1829  entered  the  ficole  des  Beaux  Arts. 
Returning  to  Toulouse,  he  established  himself  there, 
and  in  1841  became  Professor  at  the  Art  School. 
He  died  at  Toulouse,  September  19,  1859. 

VILLENEUVE,  Louis  Fb&£bic,  painter  and 
lithographer,  was  born  in  Paris  in  1796.  He  was  a 
pupil  of  Regnault,  and  entered  the  Ecole  des  Beaux 
Arts  in  1817.  He  also  studied  after  Salvator  Rosa, 
and  from  nature  in  Switzerland  and  Italy.  After 
working  for  a  time  at  Milan,  he  returned  to  Paris, 
where  he  died   in  1842.     He  painted  and   litho- 


PAINTERS  AND  ENGRAVERS. 


graphed  excellent  landscapes  and  sea-pieces,  and 
furnished  many  designs  for  Nodier's  '  France 
Pittoresque,'  and  other  illustrated  works. 

VILLEQUIN,  Etienne,  (or  Villequain,)  was 
bom  at  Ferrieres  (Brie)  in  1619,  became  a  member 
of  the  Academy  in  1663,  and  died  in  1688.  He 
painted  historical  pictures  and  portraits,  and  was 
clever  at  grotesques  and  caricature.  He  engraved 
a  satirical  plate, '  The  Peasants  of  Lycia  turned  into 
Frogs.'  Of  his  paintings,  tlie  Louvre  has  a  '  Christ 
healing  the  Blind  Men  of  Jericho,'  and  Notre 
Dame  a  '  S.  Paul  before  Agrippa.' 

VILLERET,  Franqois  Etienne,  a  French  water- 
colour  painter,  born  about  1800.  He  was  a  pupil 
of  Gu6,  and  exhibited  architectural  views,  chiefly 
of  French  churches,  at  the  Salon  from  1831  onwards. 
He  died  in  1866. 

VILLEREY,  Antoine  Claude  FRANgois,  an 
engraver,  was  born  in  Paris  in  1768.  He  was  a 
pupil  of  Romanet,  and  engraved  several  plates  for 
the  '  Mus^e  Filhol ' ;  a  great  part  of  the  vignettes 
for  the  edition  of  Voltaire  published  by  Renouard  ; 
the  '  Battle  of  Austerlitz  '  for  the  '  Concours 
d^cenal';  'Innocence  and  Love,'  after  Prud'hon ; 
'  Hymen  and  Happiness,'  after  the  same ;  and 
twenty-six  plates  for  the  '  Galerie  de  St.  Bruno,' 
after  Le  Sueur.  He  was  still  living  in  1831.  His 
son  Nicolas,  born  in  Paris  in  1801,  was  also  an 
engraver,  chiefly  of  plates  for  books.  He  engraved 
a  series  of  vignettes  after  Dev^ria,  for  editions  of 
Voltaire  and  Moliere. 

VILLEVIEILLE,  L6oN,  a  French  landscape 
painter  and  engraver,  born  in  Paris,  August  12, 
1826,  was  a  pupil  of  Louis  Marvy.  He  exhibited 
at  the  Salon  between  1850-59,  and  a  promising 
career  was  cut  short  by  his  early  death  in  1863. 
A  catalogue  of  his  pictures  and  drawings,  of  which 
there  was  a  public  sale,  was  preceded  by  a  bio- 
graphical notice  of  the  painter  by  M.  Charles 
Yriarte. 

VILLIERS,  FRANgois  Hdet,  a  French  miniature, 
landscape,  and  animal  painter,  born  in  Paris  in 
1772.  At  the  Revolution  he  migrated  to  England, 
where  he  obtained  a  good  practice,  and  was  ap- 
pointed miniature  painter  to  the  Duchess  of  York. 
He  also  styled  himself  painter  to  the  King  of 
France.  His  works  appeared  at  the  Academy  and 
at  the  British  Institution  from  1803  to  1813,  and  in 
1808  he  was  a  member  of  the  Associated  Artists  in 
Water-Colours.     He  died  in  London  in  1813. 

VILLOLDO,  Jdan  de,  a  distinguished  painter  of 
Toledo  in  the  16th  century,  studied  under  his 
uncle,  Alvar  Perez  de  Villoldo,  a  scholar  of  Bor- 
gona's.  The  cliapter  of  the  cathedral  employed 
him  to  paint  several  pictures  for  the  Muzarabic 
chapel,  which  he  commenced  in  1508,  and,  with  the 
assistance  of  Juan  de  Borgoiia  and  Amberes,  ter- 
minated in  1510.  His  series  of  forty-live  pictures 
on  sacred  subjects,  executed  1547-8,  for  the  Carbajel 
chapel  in  the  church  of  St.  Andres,  Madrid,  are 
commended  by  Bermudez  for  correct  design  and 
antique  purity  of  style.  He  died  some  time  after 
1551.  Alvar  Perez  de  Villoldo,  uncle  of  Juan, 
is  mentioned  in  the  records  of  Toledo  cathedral  as 
having  been  employed  on  decorations  there. 

VILSTEREN,  van,  a  Dutch  engraver  in 

mezzotint,    by   whom    we    have    some    portraits, 
among  them  that  of  a  Burgomaster  Bikker. 
VIMERCATI.     See  Donelli. 
VINAS.     See  Van  Den  Wijnqaerde. 
VINCELET,  Victor,  a  French  painter  of  fruit 
and  flowers,  was  a  native  of  Thiers  (Puy-de-D6me), 


and  a  pupil  of  M.  L.  Hullier.  He  exhibited  flower- 
pieces  at  the  Salon  in  1869  and  1870,  and  com- 
mitted suicide  in  1871.  The  Museum  of  S.  foienne 
has  a  fruit  and  flower  picture  by  him. 

VINCENT,  Adelaide  Labillk-des-Vertcs,  was 
bom  in  Paris  in  1749,  and, was  at  first  a  pupil  of 
her  father-in-law,  Francois  Elie  Vincent,  and  after- 
wards of  Latour.  She  first  married  a  M.  Guiard, 
and  after  his  death  Franfois  Andr^  Vincent.  She 
painted  portraits,  miniatures,  &c.,  and  was  received 
into  the  Academy  in  1782,  with  a  portrait  of 
'Pajou  modelling  his  master  Le  Moine.'  In  1787 
and  1789  she  painted  portraits  of  Mesdames  Ade- 
laide and  Victoire,  and  a  large  picture  for  Monsieur, 
afterwards  Louis  XVIII.,  of  the  '  Initiation  of  a 
Knight  of  Malta,'  which  she  had  completed  at 
the  outbreak  of  the  Revolution,  was  soon  after 
destroyed.     She  died  in  1803. 

VINCENT-CALBRIS,  Madame  SoPHiE,landscape 
painter,  born  at  Rouen  in  1822,  died  at  Lille  in 
1859,  was  a  pupil  of  R^mond.  There  is  a  land- 
scape by  her  in  the  Lille  Museum. 

VINCENT,  FRANgois  Andr6,  the  son  of  Fean- 
gois  Elie  Vincent,  a  clever  miniaturist,  was  born 
in  Paris  in  1746.  He  was  at  first  placed  with  a 
banker,  but  showing  no  taste  for  business,  he 
afterwards  entered  the  school  of  Vien.  Upon 
winning  the  Grand  Prix  in  1768,  he  went  to  Rome, 
whence  he  returned,  after  eight  years,  in  1776. 
He  was  admitted  an  Associate  of  the  Academy  in 
1777,  with  a  '  S.  Jerome,'  and  became  an  Acade- 
mician in  1782,  his  reception  picture  being  the 
'  Rape  of  Orythyia  by  Boreas,'  now  in  the  Louvre. 
He  was  appointed  Professor  in  1792,  and  died  in 
Paris,  August  3,  1816.  His  principal  works  were 
'  Belisarius  asking  Alms,'  and  '  Alcibiades  listening 
to  the  Lessons  of  Socrates.'  He  painted  for  the 
king,  'President  Mol6  seized  by  the  Mob,'  which 
was  exhibited  in  the  Salon  of  1779.  Vincent  also 
practised  as  a  painter  on  china,  and  as  an  etcher. 
M.  P.  de  Beaucour,  in  his  '  Peintre  Graveur,'  describes 
two  rare  plates  by  him,  '  Le  Malade '  and  '  Le 
Pretre  Grec'  Vincent  had  many  pupils.  The 
museums  of  Rouen,  Bordeaux,  and  Orleans  have 
pictures  by  him. 

VINCENT,  FRANgois  Philibert,  painter,  was  a 
pupil  of  David,  and  flourished  in  Paris  in  the  early 
years  of  the  19th  century.  His  portraits  of  the 
Emperor  and  Empress  appeared  at  the  Salon  of 
1810. 

VINCENT,  George,  an  English  landscape  and 
marine  painter,  was  bom  at  Norwich  in  1796.  He 
learnt  the  principles  of  art  from  old  Crome,  and  at 
the  early  age  of  seventeen  began  to  exhibit  with  the 
Norwich  (Society.  In  1814,  his  works  lirst  ap- 
peared at  the  Royal  Academy,  to  which  he  oooa- 
sionally  contributed  down  to  1823.  Coming  to 
London  in  1819,  he  married  and  settled  in  Kentish 
Town.  His  prospects  were  fair,  but  were  blighted 
by  his  recklessness.  Bestowing  less  and  less  care 
on  his  works,  he  gradually  sunk  into  poverty  and 
obscurity.  In  his  later  years  he  exhibited  at  Suffolk 
Street,  where  he  last  appeared  in  1830.  He  1» 
believed  to  have  died  soon  afterwards.  Vincent 
may  be  assigned  the  fourth  place  in  the  Norwich 
school,  after  Crome,  Cotman,  and  Stark.  His 
ehef  d'osuvre  is  a  masterly  picture  of  Greenwich 
Hospital  from  the  north  bank  of  the  Thames.  He 
signed  l]is  pictures  with  a  monogram  composed  of 
his  initials. 

VINCENT,  Henriette,  nee  Ridead  du  Sal, 
flower-painter,  was   a  pupil   of  Spaendonck    and 

303 


A  BIOGRAPHICAL  DICTIONARY  OF 


Redouts,  and  was  bom  at  Brest  in  1786.  Lambert 
the  elder  engraved  two  series  of  fruit  and  flower 
studies  from  her  designs. 

VINCENT,  Hubert,  was  a  French  engraver  who 
resided  at  Rome  about  the  year  1691.  We  may 
name  the  following  plates  by  hira: 

The  Nativity,  called  '  La  Notts  ' ;  after  Correggio. 

The  Judgment  of  Paris ;  after  Paolo  Veronese. 

VINCENT,  W.,  an  excellent  English  mezzotint 
engraver  of  the  latter  part  of  the  17th  century, 
who  worked  in  London.  His  plates  are  frequently 
from  his  own  designs  ;  these  are  perhaps  the  best : 

Mrs.  Bracegirdle  as  '  The  Indian  Queen.' 

Charles  I. 

The  Coke  Family  ;  after  Huysman. 

Isabella,  Duchess  of  Grafton. 

Prince  James  Stuart. 

Queen  Mary  of  Modena. 

Sancroft,  Archbishop  of  Canterbury. 

Lake,  Bishop  of  Chichester. 

Turner,  Bishop  of  Ely. 

White,  Bishop  of  Peterborough. 

Boy  and  Girl. 

Shepherd  and  Shepherdess. 

VINCENZO  DA  SAN  GEMIGNANO.  See 
Tamaqni. 

VINCENZO  DA  TARVIXIO.     See  Catena. 

VINCENZO  Di  STEFANO  da  VERONA,  or 
ViNCENZO  DA  Verona,  probably  the  son  of  Stefano 
da  Verona,  flourished  in  the  second  half  of  the 
16th  century,  and  is  the  reputed  master  of  Liberale 
da  Verona.  A  fresco  at  Verona  is  attributed  to 
him.  It  forms  part  of  the  decoration  on  the 
monument  erected  in  1432  at  Sant'  Anastasia  to 
the  memory  of  Cortesia  Serego,  the  general  of 
Antonio  Scaliger. 

VINCENZO-BRESCIANO.     See  Foppa. 

VINCHON,  AuGUSTE  Jean  Baptiste,  was  born 
in  Paris  in  1789,  and  was  a  pupil  of  Serangeli.  In 
1814  he  obtained  the  Grand  Prix  de  Rome  with 
his  '  Diagoras  borne  to  the  Temple.'  In  Rome  he 
worked  in  the  style  of  the  French  school  of  the 
day,  but  after  his  return  he  took  to  frescoes,  exe- 
cuting under  commission  from  the  Government 
a  series  of  '  Scenes  from  the  Life  of  St.  Maurice,' 
for  the  chapel  of  that  saint  in  S.  Sulpice.  He  also 
produced  some  grisaille  paintings  in  the  Louvre 
from  Greek  and  Roman  history.  He  died  at  Ems 
in  1855.  The  following  oil  pictures  are  also  by 
him : 

The  People  breaking  into  the  Convent — modem  Greek 

scene. 
Enrolling  the  Volunteers  of  1792. 
The  Dead  Christ.    (S.  Vincent  de  Paul.) 

VINCI,  Leonardo  da,  wbb  bom  in  1452  at 
Anchiano,  a  village  above  the  town  of  Vinci  on 
the  western  slope  of  Monte  Albano,  about  seven 
miles  from  Erapoli.  His  father,  Ser  Piero  da  Vinci, 
was  twice  notary  to  the  Si,i;noria  of  Florence ;  his 
family  had  followed  the  profession  of  the  law  for 
five  generations.  Leonardo  was  born  out  of 
wedlock ;  in  the  same  year  his  father  married  a 
Florentine  lady,  Albiera  di  Giovanni  Araadnri. 
All  that  is  known  of  his  mother  is  that  her  name 
was  Caterina,  and  that  when  Leonardo  was  five 
years  old  she  had  become  the  wife  of  Chartabriga 
di  Piero  del  Vaccha,  of  Vinci.  His  childhood  was 
spent  at  Vinci  under  the  roof  of  his  paternal  grand- 
father, Ser  Antonio.  His  favourite  occupation, 
according  to  Vasari,  consisted  in  drawing  and 
modelling ;  he  also  displayed  great  talent  in 
mathematics  and  music,  thus  early  giving  evidence 
of  tliat  versatility  of  which  his  name  has  served  as 

304 


a  type.  The  showing  of  his  youthful  drawings  to 
Verrocchio  brought  about  that  on  his  advice 
Leonardo  entered  his  studio,  presumably  not  later 
than  about  the  year  1470.  Of  Vasari's  statement 
of  his  painting  an  angel  in  Verrocchio's  '  Baptism' 
it  may  at  any  rate  be  said  that  it  receives  consider- 
able support  in  the  differences  of  the  two  angels, 
which  belong  so  essentially  to  the  types  of  the 
two  masters  as  not  to  readily  admit  the  interpreta- 
tion of  a  single  authorship.  To  this  period  of 
work  under  Verrocchio,  with  already  some  added 
grace  and  delicacy,  must  be  assigned  the  little 
panel  of  the  '  Annunciation  '  in  the  Louvre.  The 
'Annunciation'  in  the  Uifizi,  ascribed  to  Leonardo, 
is,  I  think,  more  correctly  identified  by  Mr. 
Berenson  as  the  work  of  Verrocchio.  Leonardo's 
name  appears  in  1472  in  a  book  of  accounts  as 
being  admitted  into  the  Company  of  the  Painters 
of  Florence.  He  was,  however,  still  living  with 
Verrocchio  in  1476.  There  Lorenzo  di  Credi,  and 
in  all  probability  Perugino,  had  been  his  fellow- 
pupils.  There  also  he  would  meet  Botticelli,  whose 
name  occurs  in  his  MSS.  in  a  manner  that  suggests 
personal  friendship.  His  sketch  of  the  leader  of 
the  Pazzi  conspiracy,  as  he  appeared  when  hanged 
in  December  1479,  was  perhaps  made  either  to 
assist  in  or  add  to  the  commission  given  to  Botti- 
celli to  paint  the  traitors  on  the  fajade  of  the 
Bargello.  By  this  time,  presumably,  lie  enjoyed 
the  patronage  of  Lorenzo  de'  Medici.  According 
to  the  Anonimo  Fiorentino  he  was  given  quarters 
in  Lorenzo's  famous  garden  in  the  piazza  of  San 
Marco.  A  note,  '  The  Garden  of  the  Medici,'  in  the 
'  Codice  Atlantico,'  also  points  to  his  connection 
with  Lorenzo  de'  Medici,  and  consequently  lends 
weight  to  the  Anonimo's  statement  that  he  went 
to  Milan  on  an  embassy  from  Lorenzo.  In  January 
1478  he  was  given  a  commission  by  the  Signoria 
to  paint  an  altar-piece  for  the  chapel  of  S.  Bernardo 
in  the  Palazzo  Vecchio,  and  in  March  1480,  one 
by  the  monks  of  S.  Donate  at  Scopeto  for  an  altar- 
piece  for  the  high  altar.  Neither  commission  was 
ever  completed  ;  but  it  was  for  the  second,  in  all 
probability,  that  he  began  the  'Adoration  of  the 
Magi '  now  in  the  UfiJzi,  painted  only  in  ground 
colours,  which,  with  the  similarly  unfinished  '  St. 
Jerome'  in  the  Vatican,  shows,  especially  in  the 
modelling  of  the  faces,  how  far  liis  art  had  already 
advanced  beyond  the  efi^ects  of  the  Quattrocentisti. 
Such  other  early  works  as  Vasari  mentions  cannot 
now  be  traced  ;  the  '  Medusa '  in  the  UlBzi,  ascribed 
to  Leonardo,  is  of  considerably  later  date.  There 
are  numerous  studies  for  Madonna  pictures  of  this 
period,  and  in  the  autumn  of  1478  he  speaks  of 
commencing  the  '  Two  Virgin  Maries.' 

Some  work  done  at  Florence  must  have  perished, 
some  is  probably  still  unidentified  ;  the  list  is, 
however,  a  very  brief  one.  But  the  art  of  painting 
had  been  but  one  out  of  many  interests.  His  is  an 
almost  unique  instance  of  a  mind  endowed  with 
faculties  equally  adapted  either  for  the  pursuit  of 
art  or  science,  either  to  create  or  to  investigate.  Of 
the  latter  aptitude  his  writings  offer  ample  proof, 
and  he  claims  in  them  also  that  he  has  spent  as 
much  time  in  sculpture  as  in  painting.  In  the 
draft  of  his  famous  letter  to  Ludovic  Sforza  he 
specifies  his  ability  to  construct  difl"erent  engines 
and  devices  for  warfare  on  land  or  by  sea,  adding, 
only  very  summarily,  his  readiness  to  do  any  work 
in  architecture,  painting,  or  sculpture,  as,  for 
example,  the  statue  of  Francesco  Sforza.  Else- 
where be  speaks  of  himself  as  having  been  invited 


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PAINTERS   AND   ENGRAVERS. 


from  Plorence  by  the  Duke  to  make  the  equestrian 
etatue.  The  commission  was  therefore  coincident 
■with  his  arrival  in  Milan,  wliich  occurred  in  1482 
or  1483.  Apparently  he  did  not  remain  there. 
No  records  show  his  presence  there  between  1483 
and  1487.  Part  of  this  time  was  probably  spent 
in  Syria  as  military  engineer  in  the  service  of  tlie 
Sultan  of  Egypt.  That  he  did  actually  hold  such  a 
post  is  the  most  natural  interpretation  of  certain 
reports  in  the  form  of  letters,  with  descriptions  cf 
the  regions  of  Syria,  which  are  to  be  found  in  the 
'  Codice  Atlantico.' 

He  was  back  in  Milan  in  1487,  and  made  a  model 
for  the  cupola  of  the  Cathedral,  and  the  next  twelve 
years  were  spent  in  the  service  of  Ludovic.  His 
fortunes  waxed  and  waned  with  change  of  political 
circumstances.  That  very  instability  suggested 
by  the  record  of  unfulfilled  conunissions  was  at 
times  occasioned  by  variance  in  the  Duke's  moods 
or  necessities.  The  marriages  whereby  Ludovic 
sought  to  secure  his  position  were  followed 
by  pageants.  Leonardo  constructed  the  stage 
machinery  for  a  performance  of  Bellincioni's 
operetta  '  II  Paradise '  at  the  marriage  of  Gian 
Galeazzo  ;  then  he  was  at  Pavia  advising  as  to  the 
construction  of  the  Cathedral,  and  then  back  in 
Milan  devising  costumes  for  a  tournament  held  on 
the  occasion  of  the  marriage  of  Ludovic  with 
Beatrice  d'Este  ;  and  meanwhile,  as  his  MSS.  show, 
he  was  writing  treatises  on  human  anatomy,  and 
on  "light  and  shade,"  and  studying  how  to  make 
the  Martesana  canal  navigable  ;  and  in  1403,  when 
Bianca  Maria  Sfurza  was  married  to  the  Emperor 
Maximilian,  Leonardo's  model  for  the  statue  of 
Francesco  Sforza  was  erected  in  the  piazza  of  the 
Castle  of  the  Visconti.  The  progress  of  the  statue 
had  been  so  intermittent  that  the  Duke  had  appealed 
in  the  year  1489  to  Lorenzo  de'  Medici  to  send  him 
another  artist  to  execute  the  work  in  place  of 
Leonardo.  With  the  erection  of  the  model  the 
project  halted.  Certain  drawings  and  MSS.  notes 
referring  to  it  are  apparently  of  later  date  ;  but  the 
Duke's  political  embarrassments  soon  precluded  all 
thought  of  incurring  the  expense  of  casting  the 
statue  in  bronze.  Leonardo  himself  admitted  as 
much  :  '  Of  the  horse  I  will  say  nothing,  for  I  know 
the  times.'  The  model  erected  in  1493  was  pro- 
bably that  which,  according  to  Fra  Sabba  da 
Castiglione,  served  as  a  target  to  Gascon  bowmen 
after  the  entry  of  the  French  into  Milan,  and 
which  in  1501  the  Duke  of  Ferrara  charged  his 
agent  to  endeavour  to  obtain,  and  which  was  said 
then  to  be  "  daily  perishing.''  The  portraits  of 
Cecilia  Gallerani  and  Lucrezia  Crivelli,  which 
Li;onardo  painted,  the  one  at  the  beginning  of  his 
residence  in  Milan,  the  other  probably  in  1496, 
cannot  now  be  identified.  There  is  no  evidence 
to  connect  the  picture  known  as  '  La  Belle  Ferron- 
nifere' with  either ;  and  the  face  seems  that  of  a 
somewhat  older  woman  than  Cecilia  Gallerani 
describes  herself  to  have  been  when  she  sat  to 
Leonardo.  The  arrangement  of  the  hair  in  the 
picture  is  such  as  Leonardo  expressly  counselled 
painters  to  avoid ;  and  the  somewhat  flat,  heavy 
oval  of  the  face,  the  comparatively  hard  line  of 
contour,  and  a  certain  abruptness  in  the  termination 
of  the  shadows  suggest  the  hand  of  Boltraffio. 

Of  the  two  pictures  of  the  '  Virgin  of  the  Rocks,' 
that  in  the  Louvre  is  undoubtedly  the  earlier 
version.  It  is  so  entirely  Florentine  in  type  and 
treatment  that  it  must  have  been  painted,  at  the 
latest,  very  soon  after  his  arrival  at  Milan.     The 

VOL.  V.  X 


differences  of  design  between  this  and  the  picture 
in  the  National  Gallery  would  of  themselves  make 
it  impossible  to  regard  the  latter  as  a  copy.  It  also 
shows  some  additional  power  in  the  disposition  of 
the  light,  and  it  was  in  this  that  Leonardo's  art 
sufl:'ered  most  change  during  the  period  of  his 
residence  in  Milan.  The  details  are  less  finished, 
and  the  execution  is  in  part  the  work  of  an  assistant, 
presumably  Ambrogio  de  Predis.  In  a  recently- 
discovered  document  the  names  of  the  two  painters 
appear  as  joint  petitioners  to  the  Duke  in  the 
matter  of  tlieir  contract  to  supply  an  ancoiia  of 
figures  in  relief,  a  jdcture  of  the  IVIadonna  in  oils, 
and  two  pictures  of  angels  to  the  monks  of  S. 
Francesco  at  Milan.  These  works  have  already 
been  delivered,  the  picture  of  the  Madonna  being, 
as  the  petition  states,  "  by  the  said  Florentine." 
The  Duke  is  asked  to  intervene  in  the  matter  of 
the  payment,  and  to  cause  the  monks  either  to  pay 
a  proper  price  or  to  restore  the  picture,  for  which 
they  have  a  purchaser  at  a  liigher  price  than  that 
originally  agreed  upon  with  the  monks.  What 
connects  this  document  with  the  '  Virgin  of  the 
Rocks '  is  the  fact  that  the  picture  now  in  the 
National  Gallery  was  in  the  church  of  S.  Francesco 
in  1584,  when  it  was  seen  and  described  by 
Lomazzo.  It  was  removed  from  the  church  in 
1777.  Tlie  Louvre  picture  was  in  the  French 
Royal  Collection  at  least  as  early  as  1625;  its 
earlier  history  is  unknown.  To  interpret  the 
pictition  as  having  reference  to  the  Louvre  picture 
requires  the  supposition  that  the  Duke  intervened, 
and  that  the  one  picture  was  restored  and  the  other 
painted  as  a  substitute  for  it.  In  default  of  any 
evidence  of  this  it  is  quite  as  natural  to  suppose 
that  the  picture  remained  in  the  possession  of  the 
monks. 

Leonardo  was  back  in  Florence  in  1494  or  1495 
as  one  of  a  commission  to  advise  on  a  plan  of 
construction  for  the  Sala  del  Consiglio.  On  return- 
ing to  Milan  he  was  employed  in  the  decoration  of 
the  Castle,  until  the  work  was  interrupted  early  in 
1496  owing  to  a  quarrel  with  the  Duke,  who  then 
m;ide  repeated  attempts  to  induce  Perugino  to 
come  to  Milan  and  take  his  place.  The  dispute 
was  healed  by  the  spring  of  1498,  for  Leonardo 
was  then  supervising  the  decoration  of  the  large 
Sala  delle  "  Asse,"  which  has  now  recently  been 
restored  after  the  original  design.  At  the  time  of 
the  rupture  Leonardo  had  been  given  the  com- 
mission to  paint  the  Camerini,  but  the  recently- 
discovered  'Amorini'  on  the  ceiling  of  the  lesser 
of  the  two  rooms  must  be  adjudged  the  work  of  a 
later  hand. 

The  wall-painting  of  the  '  Last  Supper '  in  the 
Refectory  of  S.  Maria  delle  Grazie  was  begun  and 
practically  finished  between  the  dates  of  giving 
up  and  of  resuming  the  work  in  the  Castle.  The 
conception  had,  however,  been  germinating  for 
years  in  his  mind,  certain  studies  for  the  figure  of 
Christ  dating  back  to  the  time  of  his  residence  in 
Florence.  Drawings  for  the  whole  composition  at 
Windsor  and  Venice  show  the  gradual  evolution 
of  the  action  represented.  At  Windsor  there  are 
also  studies  for  the  heads  of  certain  of  the  Apostles 
and  of  Judas  which  are  now  the  truest  index  of 
the  corresponding  parts  of  the  original.  It  was 
painted  in  oil  on  a  prepared  surface,  and  damp, 
and  some  error  in  the  composition  of  the  plaster, 
had,  even  by  the  middle  of  the  16th  century,  caused 
it  to  be  described  as  half  ruined.  It  has  subse- 
quently Buffered  from  damp,  ill-usage,  and  restora- 

305 


A  BIOGRAPHICAL  DICTIONARY  OF 


tion.  Of  many  contemporary  copies  the  best  is 
perhaps  that  by  Marco  d'Oggionno  at  Burlington 
House;  others  are  at  the  Hermitage,  the  Louvre, 
at  Ponte  Capriaeca,  and  in  the  Refectory  of  S. 
Maria  delle  Grazie. 

The  figures  of  tlie  Sforza  family  in  Montorfano's 
fresco  of  the  '  Crucifixion '  are,  according  to  Vasari 
and  Lomazzo,  by  Leonardo,  and  in  a  memorandum 
by  Ludovic  in  June  1497,  Leonardo  was  to  be 
urged  to  complete  what  he  had  begun  in  the 
Refectory,  so  as  to  he  able  to  get  to  work  on  the 
opposite  wall.  Hardly  anything  more  than  the 
outline  of  the  figures  now  remains. 

The  theory  of  the  existence  of  an  Academy  at 
Milan,  presided  over  by  Leonardo,  rests  upon  very 
unsubstantial  foundations.  Fra  Luca  Pacioli's 
allusion  in  the  preface  of  '  De  Divina  Proportione' 
to  a  gathering  of  savants  on  February  9,  1498,  a 
"laudabile  e  scientifico  duello,"  at  which  Leonardo 
and  the  Duke  were  both  present,  must  from  his 
description  refer  to  some  special  gatliering,  and, — if 
there  ever  was  such  an  Academy, — this  was  not  one 
of  its  meetings.  Neither  the  engravings  of  interlac- 
ing chords,  inscribed,  "  Academia  Leonard!  Vinci," 
at  Milan  or  Paris,  nor  that  of  a  female  head  in  profile, 
inscribed,  "  Acha  :  Le  :  Vi  :  "  in  the  British  Museum, 
can  beeonsidered  to  be  proofs  of  its  actual  existence, 
and  there  is  no  mention  of  any  such  Academy  by 
any  Milanese  writer  previous  to  Borsieri,  who 
wrote  more  than  a  hundred  and  twenty  years  after 
its  supposed  date. 

The  French  occupied  Milan  in  September  1499, 
and  Leonardo  went  in  December  with  Fra  Luca 
Pacioli  to  Mantua,  where  he  made  a  sketch,  now 
in  the  Louvre,  for  a  portrait  of  Isabella  d'Este  ; 
then  to  Venice,  and  in  April  1600  to  Florence. 
The  letters  of  Fra  Pietro  da  Nuvolaria  and  others 
of  Isabella  d'Este's  correspondents  in  Florence,  in 
reply  to  her  requests,  renewed  at  intervals  for  over 
five  years,  to  obtain  from  Leonardo  either  her 
portrait  or  some  other  work,  furnish  some  account 
of  his  commissions.  In  April  1501  he  had  com- 
pleted a  cartoon  with  life-sized  figures  for  a  picture 
of  the  '  Madonna  with  St.  Anne,'  which,  as  the 
description  shows,  closely  resembled  in  design  the 
Louvre  picture,  although  this  cannot  have  been 
executed  until  a  considerably  later  period.  The 
cartoon  at  Burlington  House  of  the  'Madonna 
with  St.  Anne  '  is  apparently  the  earlier  conception, 
but  there  is  no  record  as  to  its  date. 

It  must  have  been  very  soon  after  his  return  to 
Florence  that  he  painted  the  portrait  of  Mona 
Lisa,  the  wife  of  Francesco  del  Giocondo.  working 
on  it,  according  to  Vasari,  for  four  years.  The 
picture  was  acquired  by  Francis  I.,  and  has 
remained  ever  since  in  the  royal  collection.  It  is 
the  only  existing  example  of  Leonardo's  work  in 
portraiture.  The  genesis  of  some  of  the  other 
portraits  attributed  to  him  is  suggested  by  a 
passage  in  one  of  Fra  Pietro's  letters,  in  which  he 
says  that  Leonardo's  two  assistants  are  painting 
portraits,  and  that  he  himself  now  and  then  lends 
one  or  other  of  them  a  hand,  adding  that  "he  is 
quite  given  up  to  geometry  and  very  impatient  of 
painting."  In  the  autumn  of  1502  he  became 
"architect  and  engineer-in-chief"  in  the  service  of 
Ctesar  Borgia,  and  travelled  through  the  Romagna 
to  inspect  fortresses.  He  has  left  records  of  his 
ofiicial  work  in  the  form  of  notes,  maps,  and  plans 
of  fortresses,  but  his  office  ended  with  the  revolt 
of  the  duchy  in  October  and  with  the  subsequent 
collapse  of  Cesar's  rule. 

306 


In  April  1503  he  was  back  in  Florence,  and  in 
July  in  the  Florentine  camp  before  Pisa,  studying 
how  to  divert  the  course  of  the  Arno.    In  October 

1503  he  commenced  work  upon  a  cartoon  for  a 
commission  for  the  Signoria  in  the  new  Sala  del 
Consiglio.  The  subject  was  the  '  Battle  of  An- 
ghiari,'  gained  by  the  Florentines  over  the  Milanese 
in  1440.  The  space  opposite  to  it  was  given  to 
Michelangelo,  who  chose  an  incident  in  the  Pisan 
war  of  the  surprise  of  a  group  of  Pisan  soldiers 
while  bathing.  The  rivalry  between  the  two  artists 
was  embittered  by  the  part  taken  by  Leonardo  in 
January  1504,  in  the  discussion  as  to  the  site  to  be 
chosen  for  Michelangelo's  '  David.'  The  contract 
for  Leonardo's  cartoon  was  not  signed  until  May 

1504  ;  the  cartoon  was  completed  in  the  following 
February,  and  for  eight  months  afterwards  there 
are  records  of  the  payment  of  materials  for  his 
work  in  the  Sala  del  Consiglio,  where  he  painted 
the  portion  known  as  the  '  Battle  of  the  Standard.' 
There  are  studies  at  Windsor  and  Venice  for  this 
and  other  parts  of  the  composition,  and  studies  of 
heads  of  combatants  atBuda-Pesth  and  Venice.  The 
'Battle  of  the  Standard 'is  best  known  by  thedrawing 
by  Rubens  in  the  Louvre,  made  from  a  copy  of  the 
original,  and  from  the  engraving  of  it  by  Edelinck. 
There  are  also  three  early  copies.  The  drawings 
enable  us  in  part  to  realize  the  truth  of  the  remark 
made  by  Benvenuto  Cellini,  that  for  so  long  as  the 
two  cartoons  remained  entire  they  were  "  the 
school  of  the  world."  The  work  was  for  a  time 
interrupted  on  Leonardo's  discovery  of  the  un- 
satisfactory nature  of  the  surface  on  which  he  was 
painting.  It  was,  as  the  sequel  proved,  finally 
terminated  by  his  departure  to  Milan.  Soon  after 
returning  to  Florence  he  had  painted  a  'Madonna 
and  Child  with  a  Spindle '  for  Robertet,  the  secre- 
tary of  the  King  of  France,  and  at  the  end  of  May 
1506  the  Signoria  acceded  to  the  request  of  de 
Chaumont,  the  French  Governor  of  Milan,  that 
Leonardo  should  go  there  for  three  months  to 
work  for  him.  Three  successive  applications  for 
extension  of  time,  the  last  being  on  the  King's 
direct  initiative,  were  made  and  acceded  to  with 
reluctance  by  the  Signoria,  and  Leonardo  only 
returned  to  Florence  in  the  autunm  of  1507  for  so 
long  as  was  necessary  to  establish  his  claim  to  the 
share  in  his  uncle's  estate  left  to  him  by  will, 
painting  then  two  Madonna  pictures  which  he 
took  back  with  him  to  Milan.  One  of  these,  as- 
Mr.  Home  has  shown  by  reference  to  a  drawing 
in  the  Arundel  IMS.  of  about  this  date,  was  probably 
the  original  of  the  '  Litta  Madonna  '  at  St.  Peters- 
burg. Leonardo's  painting  on  the  wall  of  the  Sala 
del  Consiglio  still  existed  in  1549,  when  it  was 
referred  to  by  Anton  Francesco  Doni.  Twenty- 
two  years  later  the  wall  had  been  covered  with  a 
fresco  by  Vasari. 

Leonardo  was  at  Milan  in  July  1509,  at  the  entry 
of  Louis  XII.  after  the  victory  of  Agnadello,  and 
on  this  occasion  probably  he  constructed  the  lion 
of  which  Vasari  and  Lomazzo  speak.  On  a  page 
in  his  MSS.,  on  which  are  found  two  sketches  for 
it,  there  is  also  a  study  for  the  right  hand  of  the 
'  St.  John  '  in  the  Louvre,  done  probably  at  about 
the  same  time.  The  actual  execution  of  the  picture 
is  of  later  date,  and,  according  to  some  recent 
critics,  is  in  part  the  work  of  a  pupil.  An  estimate 
in  his  MSS.  for  a  monument  to  the  Marshal 
Trivulzio,  with  which  one  at  least  of  the  Windsor 
drawings  seems  to  be  connected,  may  be  ascribed 
to  this  period  of  his  life  at  Milan.    Then  perhaps 


PAINTERS  AND  ENGRAVERS. 


also  it  was  that,  with  the  lielp  of  a  pupil,  lie  painted 
the  '  Virgin  and  Child  with  St.  Anne  '  now  in  the 
Louvre.  His  MSS.  also  attest  his  researches  in 
anatomy,  mathematics,  and  hydraulics.  He  re- 
mained in  Milan  after  the  retirement  of  the  French 
and  the  entry  of  Maximilian  Sforza  ;  but  apparently 
his  fortunes  did  not  prosper,  and  on  September  24, 
1513,  he  records  that  he  set  out  for  Rome  with 
Giovanni  (presumably  Giovanni  Antonio  Boltraffio), 
Francesco  de'  Melzi,  Lorenzo,  and  II  Fanfoia.  He 
was  under  the  patronage  of  Giuliano  de'  Medici, 
brother  of  the  newly-elected  Leo  X.,  and  was 
lodged  in  the  Belvedere,  but  apparently  received 
no  commission  of  importance.  Of  a  email  'Madonna 
and  Child,'  and  a  portrait  of  a  boy,  painted,  accord- 
ing to  Vasari,  for  the  Pope's  Datary,  Baldassare 
Tarini,  nothing  further  is  known.  The  '  Virgin 
and  Child  with  Donor'  at  S.  Onofrio,  traditionally 
ascribed  to  him,  is  now  accepted  as  the  work  of 
Boltraffio.  Perhaps  while  at  Rome  he  made  draw- 
ings and  a  cartoon  forthe  '  Leda,'  and  he  may  there 
have  painted  the  picture.  His  MSS.  show  that  he 
was  occupied  with  scientific  researches,  and  that 
the  prejudice  attaching  to  his  anatomical  studies 
was  used  to  prevent  him  from  obtaining  com- 
missions from  the  I'ope.  Giuliano  de'  Medici  went 
north  with  the  papal  army  in  July  1515,  and 
presumably  Leonardo  with  him.  Vasari  would 
connect  his  departure  with  the  impending  arrival 
of  Michelangelo.  On  Giuliano's  illness  and  retire- 
ment to  Florence,  Leonardo  probably  continued 
with  the  army  as  far  as  Piaoenza.  He  may  have 
been  present  at  Bologna  in  December  1515  at  the 
Concordat  between  the  Pope  and  Francis  I.  Soon 
afterwards  he  entered  the  service  of  Francis  I. 
with  a  pension  of  700  crowns,  being  given  as  a 
residence  the  manor-house  of  Cloux,  near  Amboise. 
There,  on  October  10,  1517,  the  Cardinal  of  Aragon 
visited  him,  and  was  shown  three  pictures,  a  'St. 
John  as  a  youth,'  a  'Virgin  with  St.  Anne,'  and  a 
portrait  of  a  Florentine  lady,  painted  for  Giuliano 
de'  Medici,  whicli  cannot  now  be  identified.  A 
form  of  paralysis  had  then  attacked  his  right 
Land,  which  forbade  the  expecting  of  any  more 
good  work  from  him.  The  reason  is  a  curious 
one,  since  the  evidence  of  MSS.  and  drawings 
tends  to  the  belief  that  he  worked  with  his  left 
hand.  The  only  work  of  his  which  can  be  located 
in  France  are  plans  for  the  construction  of  a 
canal  near  Romorantin,  and  for  a  pleasure  palace 
near  Amboise.  The  former  was  ultimately  made, 
but  of  the  latter  there  is  no  record.  By  his  will, 
made  on  April  2.3,  1519,  he  bequeathed  his  MSS. 
and  personal  effects  to  Francesco  de'  Melzi,  to 
Salai  a  half  of  his  vineyard  at  Milan,  to  Battista 
de  Villanis  a  half  of  the  same  vineyard  and  his 
right  to  take  water  from  the  canal  of  S.  Cristoforo, 
and  to  his  brothers  the  money  standing  to  his 
account  in  Florence,  and  his  property  at  Fiesole. 
He  died  at  Cloux  on  May  2,  1519. 

The  traditon  that  he  died  in  the  King's  arms  is 
disproved  by  a  record  which  shows  that  Francis  I. 
was  then  with  the  Court  at  S.  Germain-en-Laye. 
He  was  buried  at  Amboise  in  the  cloister  of  S. 
Florentin  on  August  2.  The  entry  in  the  archives 
Btill  exists  : — "  Fut  inhum^  dans  le  cloistre  de  cette 
^glise,  Messire  Lionard  de  Vincy,  nosble  millanais, 
premier  peinctre  et  ingenieur  et  architecte  du  Roy, 
meschasnischien  d'estat,  et  anchien  directeur  de 
peincture  du  Due  de  Millan.  Ce  fut  faict  le  douc' 
jour  d'aoust,  1519." 

Since   this   article  was  written.  Dr.  Carotti  of 


Milan  has  identified  the  portrait  of  Cecilia  Gal- 
lerani  in  the  collection  of  Prince  Czartoriski  at 
Cracow,  and  definitely  proved  that  La  Belle 
Ferronifere  is  not  from  the  hand  of  Leonardo  at 
all.  He  also  attributes  the  fresco  of  the  head 
of  Christ  at  Milan  to  Cesare  da  Sesto. 

Tlie  list  of  pictures  already  mentioned  includes 
all  such  as  can  with  any  degree  of  certainty  be 
numbered  among  his  authentic  works.  The  fact 
that  these  are  so  few  invests  with  additional  interest 
the  works  of  his  pupils.  They  were  Boltraffio, 
Gianpietrino,  Cesare  da  Sesto,  Marco  d'Oggionno, 
and  Salaino.  He  is  their  common  factor;  his  draw- 
ings often  served  them  as  subjects  for  compositions; 
their  mannerisms  aretbeexag^'eration  of  his  eifects. 
Hardly  less  great  was  his  influence  upon  Sodoma, 
Luini,  Andrea  Solario,  Ambrogio  de  Predis,  and 
Bernardino  de'  Conti.  Of  his  Florentine  con- 
temporaries, Lorenzo  di  Creili,  Fra  Bartolommeo, 
and  Piero  diCosimo  were  followers  of  his  methods, 
and  both  Vasari  and  his  own  sketches  testify  that 
Raphael  was  an  assiduous  student  of  his  work. 
We  may  say,  in  the  words  of  Crowe  and  Caval- 
caselle,  "his  influence  was  so  extraordinary  that  it 
is  difficult  to  treat  of  any  painter  of  his  time  with- 
out mentioning  his  name."  Of  his  drawings,  which 
are  very  numerous,  the  largest  collection  is  that  in 
the  Roj-al  Library  at  Windsor  ;  there  are  others 
in  the  Louvre,  the  British  Museum,  the  Ufiizi,  the 
Venice  Academy,  the  Christ  Church  Library  and 
the  University  Galleries  at  Oxford,  and  the  Royal 
Library  at  Turin,  where  is  the  only  undisputed 
portrait  of  Leonardo — a  drawing  by  himself  in  red 
chalk.  Of  his  writings,  the  'Treatise  on  Painting' 
has  survived  in  its  entirety  only  in  copies,  the  best 
being  that  in  the  Vatican,  edited  by  H.  Ludwig 
(Vieima,  1882).  The  '  Codice  Atlaiitico  ' — a  collec- 
tion of  loose  sheets  dealing  with  a  great  variety  of 
subjects — in  the  Ambrosiana  at  Milan,  has  recently 
been  published  by  the  Accademia  dei  Lincei  at 
Rome  (1894-1904).  The  manuscripts  at  Paris,  in 
the  Library  of  the  Institute,  and  the  two  from  the 
Aslibumham  Collection,  now  in  the  Biblioth^que 
Nationale,  have  been  edited  in  six  volumes  by 
M.  Ravaisson-Mollien  (1880-1891).  Of  those  at 
Windsor,  two  volumes,  treating  of  anatomy,  have 
been  published  (Paris,  1898,  and  Turin,  1901),  as 
also  a  MS.  from  the  Trivulzio  Library  at  Milan, 
and  a  short  'Treatise  on  the  Flight  of  Birds.' 
There  are  also  three  MSS.  at  South  Kensington, 
one  in  the  British  Museum,  and  one  at  Holkham 
Hall. 

BIBLIOGRAPHY. 

O.  Amoretti, '  Memorie  Storiche  su  la  vita  di  L.  da  V.' 

(Milan,  1804.) 
Aiiouimo    Fiorentino    (De    Fabriczy,  'Arch.    Storieo 

Ital.,'  series  5,  torn.  12). 
Berenson,  B., '  Florentine  Painters  of  the  Renaissance.' 

(Loudon,  1895.) 
Berenson,  B.,  'Tlie  Drawings  of  the  Florentine  Painters.' 

(London,  1903.) 
Billi,  n  Libro  di  Antonio  (De  Fabriczy, '  Arch.  Storieo 

Ital.,'  series  5,  torn.  7). 
Campori,  G., '  Nuovi  documenti  per  la  vita  di  L.  da  V.' 

(Modena.  1865.) 
Gaye,  J., '  Carteggio  d'Artisti.'     (1839-40.) 
Gronau,  G., ' L.  ila  V.'     (London,  1902. ) 
Home,  H.  P.,  '  Vasari's  Life  of  L.  da  T.,  with  Com- 
mentary.'    (London,  1903.) 
McCurdy,     E.,    '  L.    da    V.'    (Great    Masters    Series. 

London,  1904.) 
Morelli,  G., '  Italian  Painters.'     (London,  1892.) 
Motta,  E., '  Ambrogio  Preda  e  L.  da  Y.'     'Arch.  Stor. 

Lomb.  XX.'    (1893.) 
Miintz,  B., '  L.  da  V.'    (Loudon,  1898.) 

307 


A    BIOGRAPHICAL   DICTIONARY    OF 


MuUer-Walde.  P., '  Beitriige  zur  Kenntnis  des  L.  da  V.' 

'.Jahrbuch  des  K.  Preuss,  KuBst.'     (1897-9.) 
Eichter,  J.   P.,   '  The   Literary  Works   of  L.    da  V.' 

(London,  1883.) 
S&iUles,  G., '  L.  de  V.,  1' Artiste  et  le  Savant.'    (Pans, 

1892.) 
Solmi,  E., '  L.  da  v.,  Frammenti  Literari  e  Filosoflci.' 

(Florence,  1899.) 
Solmi,  E., '  Leonardo.'     (Florence,  IflOO.) 
Vasari,    G.,    '  Le    Vite'    (Edit.    Milanesi),    vol.    iv. 

(Florence,  1880.)  E.  McC, 

VINCINO  (or  ViciNo)  was  a  pupil  of  Gaddo 
Gaddi,  and  worked  in  the  14th  century  at  mosaics 
for  the  Cathedral  of  Pisa.  It  has  been  proved  that 
he  was  a  native,  not  of  Pisa,  but  of  Pistoja. 

VINCITORE,  ToMMASO,(ViNCiDOR,)  painter,  called 
ToMMASO  DA  Bologna,  was  the  pupil  of  Raphael, 
whom  he  is  said  to  have  helped  in  tlie  execution  of 
tlie  famous  cartoons.  In  1520  he  travelled  to 
Flanders,  commissioned  by  Leo  X.,  to  intrust  the 
reproduction  of  the  cartoons  in  tapestry  to  Flemish 
artists.  In  the  safe-conduct  supplied  him  by  the 
Pope  for  his  journey,  Leo  eulogizes  his  talent,  and 
speaks  of  him  as  his  own  painter.  At  Antwerp  he 
formed  afriendship  with  AlbrechtDiirer  (1521);  the 
German  master  painted  his  portrait,  and  refers  to 
him  in  his  '  Journal '  under  the  name  of  Thomas 
PoloniuB.  Viucidor  is  further  said  to  have  been 
one  of  those  pupils  of  Raphael  who  carried  out  the 
frescoes  in  the  Loggia  under  his  direction.  Later 
details  of  the  life  of  Tommaso  are  vague  and 
scanty.  He  seems  to  have  entered  the  service  of 
Henry  of  Nassau,  at  Breda,  to  have  been  employed 
in  reconstructive  and  decorative  work  at  the  Castle 
there,  and  to  have  died  in  the  Netherlands  about 
1536. 

VINCK,  J.,  was  a  landscape  and  portrait  painter, 
of  whose  life  no  particulars  are  known.  His  land- 
scapes are  in  a  manner  founded  upon  those  of 
Vinckeboons,  Paul  Bril,  and  Brueghel,  and  appear  to 
have  been  painted  in  the  early  part  of  the  17th  cen- 
tury.   His  jiortraits  are  known  only  by  engravings. 

VINCKEBOONS,  David,  (Vinckebooms,  or 
ViNCKENBoriMS,)  bom  at  Mechlin  in  1578,  _\vas 
the  son  of  Philip  Vinckeboons,  (an  obscure  painter 
in  distemper,  who  went  to  Antwerp  in  1680,  and  to 
Amsterdam  in  1587,)  by  whom  he  was  taught  the 
elements  of  art.  He  painted  small  landscapes  in 
the  style  of  Roelandt  Savery  and  Jan  BruegheL 
They  have  sometimes  subjects  from  the  Bible, 
sometimes  fairs  and  merry-makings,  the  figures 
being  frequently  by  Rottenhammer.  He  also 
painted  animals  in  small,  and  practised  as  a 
glass  painter.  He  died  at  Amsterdam  in  1629. 
One  of  his  most  important  works  is  a  picture  in 
the  '  Old  Men's  House,'  at  Amsterdam,  representing 
a  crowd  of  people  attending  the  drawing  of  a  lottery 
by  torch-light.  The  Antwerp  museum  has  a  'Vil- 
lage Fete,'  and  other  examples  in  the  same  genre 
are  to  be  found  at  Augsburg,  Dresden,  Stockholm, 
Hamburg,  Frankfort,  Amsterdam,  and  Copenhagen. 
Of  his  sacred  subjects  the  best  examples  are  '  Christ 
bearing  His  Cross,'  in  the  Munich  Gallery  ;  '  Christ 
restoring  Sight  to  the  Blind,'  at  Frankfort ;  a 
'  Flight  into  Egypt,'  in  the  Berlin  Museum,  and  a 
number  of  pictures  in  the  Vienna  Gallery.  He 
etched  a  few  original  landscapes,  and  a  plate 
known  as  '  Death  and  the  Loving  Clou  pie' ;  these 
he  usually  marked  with  a  monogram,  composed  of 
a  Z>,  a  V.  and  a  B.  The  British  Museum  has 
four  pen  drawings  by  him,  washed  with  Indian 
ink,  from  the  story  of  the  Prodigal  Son. 

VINEA,  Francesco,  was  esteemed  highly  both 
308 


in  his  own  country  and  abroad.  He  was  a  disciple 
of  MeisBonier,  and  died  in  Florence  in  1904,  in  his 
fifty-seventh  year. 

VINIT,  Charles  L£on,  painter  and  architect,  is 
best  known  as  the  latter,  but  after  completing  his 
education  as  an  architect,  he  studied  painting  in 
Remond's  atelier,  and  from  1838  to  1852  frequently 
exhibited  architectural  views,  of  French  and  East- 
ern subjects,  at  the  Salon.  Born  in  Paris  in  1806, 
he  died  in  his  native  city,  April  30,  1862.  The 
Toulouse  Museum  has  a  view  by  him  of  the  Ecole 
des  Beaux  Arts,  and  the  Nlmes  Museum  a  copy  by 
him  of  Panini's  '  St.  Peter's,  Rome,'  now  in  the 
Louvre. 

VINKELES,  Reinier,  a  Dutch  draughtsman 
and  engraver,  was  born  at  Amsterdam  in  1741. 
He  was  a  pupil  of  Jan  Punt,  and  also  studied  in 
Paris  under  Lebas.  He  engraved  some  2500  plates 
for  books,  chiefly  portraits  and  vignettes,  of  which 
about  1500  were  from  his  own  designs.  Most  note- 
worthy among  these  are  the  illustrations  for  the 
dramatic  works  of  Winter  and  Merken,  and  his  own 
portrait  on  the  same  plate  with  those  of  J.  Schmidt 
and  J.  Andriessen.  He  died  at  Amsterdam  in 
1816.  His  two  daughters,  Cecilia  and  Elizabeth, 
and  his  grandson  Herman,  were  painters. 

VINNE.     See  Van  der  Vinne. 

VINSAC,  Claode  Dominique,  was  born  at  Tou- 
louse in  1749.  He  engraved  small  portraits,  and 
designs  for  goldsmiths,  in  the  dotted  manner. 

VINTCENT,  LoDEWiJK  Anthonij,  was  bom  at 
the  Hague  in  1812.  He  was  a  pupil  of  B.  J.  van 
Hove  and  Cornells  Kruseman.  He  for  a  time  de- 
voted himself  to  genre  subjects,  but,  in  1831,  he 
took  to  portraiture  in  pencil,  chalk,  and  Indian  ink. 
He  visited  Paris  in  18.^7,  and  died  in  1842,  a  mem- 
ber of  the  Academy  of  Amsterdam. 

VIOLA,  DOMENICO,  a  mediocre  imitator  of  II 
Calabrese,  who  flourished  at  Naples,  and  died,  very 
old,  about  1696. 

VIOLA,  Giovanni  Battista,  was  born  at  Bologna 
in  1576,  and  was  a  scholar  of  Annibale  Carracci, 
whose  manner  in  landscape  he  adopted.  In  com- 
pany with  Francesco  Albani,  he  visited  Rome,  and 
was  employed  in  ornamenting  palazzi,  in  which  he 
painted  landscapes,  with  figures  by  Albani  and 
Domenichino.  One  of  the  works  which  brought 
him  into  repute  was  a  landscape,  painted  for  the 
Vignaof  Cardinal  Alessandro  Montalto,  where  Paul 
Bril  was  employed  at  the  same  time.  He  also 
painted  in  the  Apollo  saloon  of  the  Villa  Aldo- 
brandini.  He  was  appointed  keeper  of  the  bed- 
chamber to  Pope  Gregory  XV.,  and  died  at  Rome 
in  1622. 

VIOLET,  Pierre,  a  French  miniature  painter, 
born  in  1749.  The  first  part  of  his  career  was 
passed  in  his  native  country,  where  he  was  ap- 
pointed miniature  painter  to  the  court.  At  the 
Revolution  ho  migrated  to  England,  where  he 
continued  to  practise,  exhibiting  many  works  at 
the  Royal  Academy  between  1790  and  1819.  He 
died  in  London  in  1819. 

VIOLLET-LE-DUC,  Etienne  Adolphe,  bom  in 
Paris  in  1817,  was  a  pupil  of  Ldon  Fleury,  and 
exhibited  at  the  Salon  from  1844  to  the  year  of  his 
death.  His  works  were  landscape  views,  chiefly 
of  French  coast  scenerj',  and  gained  three  medals 
at  the  Salon.    He  died  in  Paris  in  1878. 

VION,  Henri  F£lix,  French  engraver ;  born  in 
1863  in  Paris ;  became  a  pupil  of  Gdrome,  Henri 
Lefort,  and  Hameng.  Among  other  famous  en- 
gravings from  the  old  masters  executed  by  him 


PAINTERS  AND   ENGRAVERS. 


we  may  mention  the  'Jeune  Seigneur'  of  Lucas 
Cranach,  besides  works  by  Drouais,  Meissonier, 
Memlinc,  Palmaroli,  Rubens,  Teniers,  and  Wouver- 
mans.     He  died  in  Paris  in  1891. 

VIOTTI,  GiDLio,  painter,  born  in  1845,  first 
studied  jurisprudence,  but  afterwards  turned  to 
art,  and  became  the  pupil  of  Andrea  Castaldi.  He 
painted  genre  pictures,  and  in  1873  won  a  medal  at 
Vienna.  He  was  a  defective  draughtsman.  He 
died  at  Turin  in  1877. 

VIRSCHEN.     See  Visscher,  Theodoor. 

VISACCI.     See  Cimatore. 

VISCH.     See  De  Visch. 

VISCHER,  CORNELIP,  a  Dutch  portrait  painter,  of 
whose  life  little  is  known.  Born  at  Gouda  about 
1520,  he  is  said  to  have  become  insane,  and  to  have 
drowned  himself  during  his  passage  from  Ham- 
burg to  Amsterdam.  In  the  Vienna  Gallery  there 
is  a  portrait  of  a  man  by  him,  inscribed :  Aetatis  siUB 
62  ^»  1574.  Arsprobat  virum.  A  portrait  by 
him  of  William  I.  Prince  of  Orange  lying  in  State, 
now  at  Amsterdam,  is  dated  1584. 

VISCHER,  Peter,  called  Vischer  von  Wilden- 
STEIN,  an  engraver,  was  born  at  Basle  in  1779. 
He  was  a  pupil  of  Peter  Biennann,  and  etched 
some  good  original  landscapes.     He  died  in  1851. 

VISCHER,  ViNCENZ.     See  Fischer. 

VISENTINO,  Antonio,  painter  and  engraver, 
was  born  at  Venice  in  1688.  He  was  a  pupil 
of  Canale,  in  whose  manner  he  painted  and  etched 
ai'chitectural  views  of  Venice,  to  which  Tiepolo 
and  Zuccarelli  sometimes  added  figures.  He  died 
in  1782.  Among  his  plates  are  a  series  of  forty 
after  his  master,  Canale. 

VISING,  II ,  has  lieen  called  the  pupil  both 

of  Mariotto  Albertinelli  and  of  Francia  Bigio  ;  the 
latter  assertion  at  least  is  improbable.  Vasari  says 
Albertinelli.  A  panel  with  the  '  Descent  from  the 
Cross,'  by  Visino,  is  in  the  Galleria  del  Seminario, 
at  Venice.  In  the  Bologna  Academy,  a  '  Virgin 
and  Child '  is  generally  attributed  to  him.  He 
visited  Hungary,  and  is  believed  to  have  died  there 
about  1512. 

VISMARA,  (or  VICEMALA,)  Giacomo,  one  of 
the  painters  employed  at  the  Court  of  the  Sforzas  in 
the  second  half  of  the  15th  century.  The  dates  of 
his  birth  and  death  are  unknown,  but  from  a 
petition  (now  in  the  Sforza  Archives  at  Paris) 
presented  by  this  painter  and  his  colleague  Pietro 
Marchesi,  craving  payment  for  the  work  they  had 
executed,  it  is  to  be  inferred  that  he  was  a  finished 
artist  in  the  service  of  Francesco  Sforza  in  1460  or 
earlier.  In  1473  he  executed  frescoes  in  the 
Capella  Ducale  of  the  Castello  at  Milan,  and 
between  1473  and  1476  was  engaged  with  Vincenzo 
Foppa  and  other  painters  upon  the  great  altar-piece 
for  the  chapel  of  the  Castle  at  Pavia.  He  is 
frequently  mentioned  in  documents  as  having 
executed  paintings  with  Bembo  and  others  in 
different  churches  in  Milanese  and  Pavi,an  territory 
and  elsewhere,  their  work  in  the  church  of  S. 
Maria  at  Caravaggio  being  especially  commended 
by  their  contemporaries.  It  was  valued  11  1477 
by  three  painters,  one  of  whom  was  a  relation  of 
Costantino  da  Vaprio.  No  works  by  Vismara  are 
known  in  tlie  present  day.  C.J.  Ff. 

VISO.     See  Del  Viso. 

VISPK:^,  Francois  SaveriO,  a  French  painter 
and  engraver,  was  born  in  Paris  about  1730.  He 
engraved  portraits  in  mezzotint,  among  them  those 
of  Louis  XV.  and  other  members  of  the  Royal 
Family  of  France.     He  visited  London  about  the 


year  1765,  where,  among  other  plates,  he  engraved 
a  portrait  of  the  Chevalier  d'Eon.  He  exhibited 
fruit-pieces,  in  oil  and  on  glass,  in  Spring  Gardens. 
He  was  still  living  and  practising  at  Dublin  at  the 
end  of  the  century.  He  was  a  fellow  of  the 
Society  of.  Antiquaries. 

VISPRE,  Victor,  a  French  miniature  painter, 
born  towards  the  middle  of  the  18th  century.  He 
was  the  brother  of  Francois  Vispr^,  with  whom  he 
migrated  to  Ireland,  to  practise  in  Dublin.  His 
works,  which  were  chiefly  portraits,  often  in  pastel, 
appeared  at  the  Society  of  Artists,  the  Free  Society, 
and  the  Royal  Academy,  from  1763  to  1778. 
Among  his  sitters  were  Garrick  and  his  wife. 

VISSCHER,  CORNELIS,  draughtsman  and  en- 
graver, was  bom  at  Amsterdam  about  1620.  He 
was  a  pupil  of  Pieter  Soutman,  but  adopted  a 
manner  of  his  own,  and  has  never  been  surpassed 
in  the  technic  of  line  engraving.  His  '  Giles 
Boutma,'  the  'Pancake-woman,'  the  'Seller  of 
Rat's  bane,'  the  '  Gipsy  Woman,'  the  '  Harper,'  and 
the  '  Cat,'  may  be  cited  as  models  of  perfection  in 
the  carriage  of  the  burin.  He  was  less  successful 
in  historical  plates  from  Italian  and  Flemish 
painters,  particularly  in  those  engraved  after 
Rubens.  He  died  about  1670.  He  executed  some 
good  drawings  in  black  chalk.  The  following  are 
his  best  prints : 

A  Portrait,  supposed  to  be  that  of  himself;  inscribed 
Corn.  Visscher  fecit .  anno  1649. 

Ditto.  Corn.  Visscher  fecit,  anno  1651. 

Andreas  Deonyszoon  Winius,  called  '  The  Man  with  the 
Pistol.'  The  scarcest  and  most  valuable  of  his  por- 
traits. 

Gellius  de  Bonma  (Giles  Boutma),  Minister  at  Zutphen. 

"William  de  Ryck,  Oculist,  of  Amsterdam.  These  two 
portraits  are  commonly  called  '  The  great  Beards.' 

Oomelis  Vosbergius,  pastor  of  Spaerwouw.     1653. 

"Willem  van  den  Zande,  Theologian  ;  after  Soutman. 

David  Pieterz  de  Vries,  Grand-master  of  Artillery  to 
the  States  of  Holland. 

Jacob  Westerbaen,  Lord  of  Braudwyck,  &c. 

Constautine  Hiiygecs,  Lord  of  Ziiylichem.     1657. 

Lieven  V  an  Coppenol,  called  the  Writing-master.    1658. 

William,  Prince  of  Orauge ;  after  G.  Uonihorst,     1649. 

Mary,  Daughter  of  James  I.,  Princess  of  Orange;  after 
the  same.     1649. 

Prince  Charles,  afterwards  King  of  England;  after  the 
same.     16o0. 

The  Pancake-woman.     From  his  own  design. 

The  Rat-catcher.     Do. 

The  Gipsy  Woman,  with  three  Children,  one  of 
which  she  is  suckling.     I>o. 

Boy  holding  a  Candle,  and  Girl  with  a  Mouse-trap.   Do. 

A  Cat  sleeping  on  a  Napkin  (called  the  small  cat).    Do. 

A  Cat  sleeping,  with  a  Eat  behind  her.     Do. 

The  Coronation  of  the  King  and  Queen  of  Sweden.   Do. 

The  Angel  directing  the  Departure  of  Abraham ;  after 
£assano. 

Abraham's  Arrival  at  Sichem  ;  after  the  same. 

Susannah  and  the  Elders  ;  after  Guido. 

A  Woman's  Head  ;  from  a  Parmese  picture. 

The  Entombment ;  after  Tintoretto. 

The  Resurrection  ;  after  Paolo  Veronese. 

The  Holy  Family,  with  S.  John  presenting  a  Pear  to 
the  Infant  Christ. 

The  Last  Judgment ;  after  Rubens. 

A  Madonna  crowned  by  Angels  ;  after  the  same. 

Achilles  discovered  by  Ulysses  at  the  court  of  Lyco- 
medes  ;  after  the  same. 

The  travelling  Musicians;  after  A.  van  Ostade. 

Two  Men,  and  a  Woman  holding  a  Glass  ;  after  the 
same. 

'The  Skaters;'  after  the  same  ;  an  interior  with  several 
figures,  and  in  front,  a  pair  of  skates,  from  which  the 
print  has  obtained  its  name. 

The  Surgeon  ;  after  A .  Brouwer. 

Man  playing  the  Violin,  others  singing ;  after  the  same. 

The  Attack  on  the  Convoy  ;  after  P.  van  Laar. 

309 


A   BIOGRAPHICAL  DICTIONARY  OF 


The  Coach  robbefl ;  after  the  same. 

The  Lime-kiln  ;  after  the  same. 

A  set  of  four  Landscapes  ;  after  Berchem. 

Another  set  of  four  Landscapes ;  after  the  samt. 

A  very  fine  collection  of  the  works  of  Cornelia 
Visscher  is  in  the  British  Museum. 

VISSCHER,  Jan,  the  younger  brother  of  Cor- 
nells Visscher,  was  born  at  Amsterdam  in  1635  or 
1636.  Although  he  did  not  possess  the  genius  of 
his  brother,  he  was  an  able  engraver.  His  plates 
are  carried  farther  with  the  point  than  those  of 
Cornells,  and  his  style  of  etching  is  uncommonly 
picturesque  and  effective.  His  prints  after  Bercliem 
(about  fifty ),Wouwerman,  Van  Goyen,  and  Ostade 
are  excellent.  He  also  engraved  several  portraits. 
In  his  fifty-sixth  year  he  learnt  painting  under 
Carre,  but  of  his  pictures  we  know  nothing.  The 
date  of  his  death  is  unrecorded,  but  it  was  after 
1692.     The  following  are  among  his  best  plates  : 

Jan  de  Uytenbogaert;  Job.  de  Jlsscher  sc. 

Abraham  van  der  Hulst,  Vice-Admiral  of  Holland. 

Peter  Paul  Rubens  ;  after  Van  Di/ck. 

Admiral  de  Kuyter  ;  after  Berchmans. 

A  Negro,  holding  a  Bow  and  Arrow  in  his  hand  ;  after 

Cornells  Visscher. 
Peasants  playing  at  Trictrac  ;  after  A.  van  Ostade. 
A  Woman  spinning  and  a  Man  winding  ;  after  the  same. 
Peasants  dancing;  called  Ostade's  Ball;  after  the  same. 
Peasants  regaling  at  an  Ale-house  door;  after  the  same. 
A  Country  Wedding,  called  Ostade's  Bride  ;  after  the 

same. 
Several  Peasants  dancing  in  a  Cottage;  called  Berchem's 

Ball ;  after  Berchem.     (His  best  plate.) 
The  Shepherd  ;  after  the  same. 
The  Four  Times  of  the  Day  (Landscapes);  after  the 

saine. 
A  set  of  six  plates  of  Figures  and  Animals  ;  after  K.  du 

Jardin. 
A  set  of  four  plates ;  after  P.  van  Laar. 
Several  Landscapes,  &c. ;  after  Ph.  Wvuwerman. 
A  set  of  twelve  Landscapes  ;  after  J.  van  Goyen. 
A  set  of  twelve  Landscapes  ;  after  Herm.  Sicanevelt. 

VISSCHER,  Claes  Jansz,  an  engraver  and  print- 
seller,  was  born  at  Amsterdam  in  1580,  and 
probably  belonged  to  the  same  family  as  the  artists 
already  mentioned.  We  have  a  variety  of  etchings 
by  him,  partly  original,  partly  after  other  artists. 
He  also  engraved  several  portraits.  His  prints  are 
sometimes  marked  with  a  monogram,  composed  of 

a  C,  an   I,  and  a  V  :  thus,  "W".;  the  first  letter  for 

Claes,  which  is  an  abbreviation  of  Nicholas.  Of 
the  large  number  of  plates  inscribed  C.  J.  Visscher 
exc,  many  were  no  doubt  only  published  and 
sold  by  him.  The  following  are  some  of  his  own 
works : 

Charles  I.,  King  of  England,  in  a  round  hat.  Marked 
with  the  above  monogram. 

William  Laud,  Archbishop  of  Canterbury. 

James  II. 

James,  Duke  of  Monmouth. 

John  Calvin. 

Desiderius  Erasmus. 

An  Allegory  on  Human  Life. 

A  set  of  twelve  Views  of  Haarlem  and  its  neighboiu-- 
hood. 

A  View  of  the  Castle  of  Loweustein. 

A  set  of  Landscapes,  with  Views  of  the  Castles  of 
Abcou,  Pymerendt,  Muyden,  and  Touteuburg. 

A  set  of  four  plates  from  the  Story  of  the  Prodigal 
Son;  after  Vinckeboons, 

There  has  been  a  good  deal  of  confusion  over 
the  Visschers.  Nagler  points  out  that  a  print- 
selling  business  was  carried  on  at  Amsterdam 
in  the  middle  of  the  16th  century  by  Jan  Claesz 
Visscher  ;    that    he    had    a    son,    an     engraver, 

310 


Claes  (Nicolas)  Jansz,  (the  above,)  whose  early 
plates  are  frequently  signed  de  Jonge  (the 
younger) ;  that,  later,  Claes  Jansz  succeeded  to 
his  father's  business,  and  thenceforth  signed  him- 
self C.  J.  Visscher,  Nicolaus  Joannis  Visscher, 
or  Nic.  Jo.  Pisoator. 

VISSCHEU,  Lambebt,  the  brother  of  Cornelis 
and  Jan  Visscher,  was  born  at  Amsterdam  in  1634, 
and  passed  most  of  his  life  in  Rome,  where  he 
died.  In  conjunction  with  Cornelis  Bloemaert  and 
Franfois  Spierre,  he  engraved  some  plates  from 
the  paintings  by  Pietro  da  Cortona,  in  the  palace 
of  the  Grand  Duke  of  Tuscany.  We  have  also 
some  portraits  by  him.  The  following  are  perhaps 
his  best  plates : 

Marie  Th^rSse,  Queen  of  France  ;  after  Van  Loo. 

Anne  of  Austria,  Queen  of  France ;  after  the  same. 

Jan  de  Wit,  Pensionary  of  Holland  ;  after  J.  de  Baan. 

Cornelis  Tromp,  Vice-Admiral  of  Holland  ;  after  F.  Bol. 

Seleucus  yielding  Stratonice  to  Antiochus  ;  after  P.  da 
Cortona. 

Virtue  withdrawing  a  young  Man  from  the  embraces  of 
Sensuality.     Do. 

VISSCHER,  Theodoor.  a  landscape  and  animal 
painter,  was  born  at  Haarlem  about  1650,  and 
studied  under  Nicolas  Berchem,  but  afterwards 
spent  twenty-five  years  in  Rome,  where,  from  his 
drunken  habits,  he  acquired  the  name  of  '  Slempop.' 
Some  of  his  pictures,  however,  are  painted  fairly, 
and  resemble  those  of  his  first  master.  He  died 
about  the  end  of  the  17th  century. 

VISSELLET,  M.,  an  engraver,  supposed  to  have 
been  a  Frenchman,  who  lived  about  the  commence- 
ment of  the  17th  century.  Dumesnil  enumerates 
forty-three  plates  by  him  of  subjects  from  the 
New  Testament :  they  are  coarsely  engraved,  and 
resemble  the  wood-cuts  of  J.  Stella,  of  which  they 
seem  to  be  imitations.  Some  are  signed  MV.  F., 
and  one  M-  Vissellet  F. 
VITA,  Della  (Vite).  See  Della  Vite. 
VITALBA,  Giovanni,  was  an  Italian  engraver, 
who  was  born  about  the  year  1740.  He  was  a 
I'upil  of  Wagner,  wliose  style  he  imitated.  In 
1765  he  came  to  England,  and  engraved  several 
plates  for  Boydell.  He  was  still  living  in  1790. 
Among  others,  we  have  the  following  prints  by 
him  : 

Cupid,  with  two  Satyrs  ;  after  Affostino  Carraeci. 

'  Spring  '  and  '  Summer  ' ;  after  Fit.  Lauri. 

Herodias  with  the  Head  of  St.  John  ;  after  L.  Pasinelli. 

VITALE.     See  Cavalli. 

VlTALl,  Alessandro,  born  at  Urbino  in  1580, 
was  a  scholar  and  imitator  of  Federigo  Barooci, 
who  was  so  pleased  with  his  talent  that  he  painted 
on  some  of  his  pictures.     Vitali  died  in  1630. 

VITALI,  Candido,  was  born  at  Bologna  iu  1680. 
He  was  brought  up  in  the  school  of  Carlo  Cignani, 
and  by  his  advice  devoted  himself  to  painting 
animals,  birds,  flowers,  and  fruit.  He  died  in 
1753. 

VITALI,  GiosEFFO,  was  a  native  of  Bologna, 
and  flourished  about  the  year  1700.  He  was  a 
scholar  of  Giovanni  Giuseppe  dal  Sole,  and  painted 
historical  su'ojects.  There  are  several  of  his  works 
in  the  churches  at  Bologna,  the  best  being  an 
'  Annunciation,'  in  Sant'  Antonio  ;  a  '  S.  Petronio,' 
in  SS.  Sebastiano  e  Rocco ;  and  a  'Martyrdom  of 
St.  Cecilia,'  in  the  church  of  that  saint. 

VITE,  Antonio,  was  a  disciple  of  Gherardo 
Stamina,  and  was  born  at  Pistoja.  He  flourished 
about  the  year  1378,  and  was  perhaps  identical 
with  one  Antonio  di  Filippo  of  Pistoja,  whose 
name  occurs  in  records  of  the  period.     He  is  said 


ALVISE  VIVARINI 


!  Vhc  Ai'cadt'mia,   Venice 


ST.   CLARE 


AIA'ISE   VIVARINI 


SANTA  GIUSTINA 


PAINTERS  AND   ENGRAVERS. 


to  have  worked  at  Pisa,  for  the  Campo  Santo,  at 
Prato,  in  the  Palazzo  del  Ceppo,  and  in  various 
churches  of  his  native  town. 

VITE,  Giovanni  della.    See  Miel. 

VITE,  PiETBO  and  TiM.  della,  (or  ViTi).  See 
Della  Vite. 

VITELLI,  (or  Vitel).     See  Wittel. 

VITERBO,    Lorenzo    di.      See    Lorenzo    di 

VlTERBO. 

VITO,  San.     See  Amalteo,  Pomponio. 

VITRING  A,WiQERns,  sometimes  calledWiLLiAM, 
a  marine  painter,  was  born  at  Leeuwarden  in  1657. 
He  was  a  lawyer  by  profession.  His  pictures  have 
features  in  common  with  those  of  Bakhuisen, 
Willem  van  de  Velde,  and  Rietschoof,  but  are  not 
servile  imitations.  His  ships  are  well  drawn.  His 
pictures  are  seldom  signed,  and  are  often  ascribed 
to  other  artists.  His  drawings,  in  Indian  ink 
washed  with  bistre,  are  frequently  signed  and 
dated.  He  seems  to  have  worked  at  Alkmaar, 
where  his  name  occurs  in  the  Painters'  Guild 
registers  in  1696.     He  died  at  Wirdum  in  1721. 

VITTINGHOFP,  Karl,  Baron  von,  who  often 
worked  under  the  name  of  Fischbach,  was  born  at 
Presburg  in  1772.  He  lived  at  Vienna,  where  he 
painted  and  etched  landscapes,  with  figures  and 
animals.  He  illustrated  an  edition  of  '.Sisop's 
Fables.'     He  died  in  1826. 

VITTORE  BELLINIANO.     See  Belliniano. 

VITTORE  DI  MATTEO,  a  painter  of  the  Venetian 
school,  and  the  disciple  and  assistant  of  Giov. 
Bellini.  He  was  one  of  the  artists  chosen  by 
Bellini  to  value  Giorgione's  frescoes  in  the  Fondaco 
in  1508,  and  in  1515  worked  under  his  master  in 
the  Hall  of  Council.  It  seems  higlily  probable,  as 
pointed  out  by  Crowe  and  Cavalcaselle,  that  he 
was  identical  with  Vittore  Belliniano  (<;.'!'.). 

VITULINI,  Bernardino,  was  born  in  Serravalle, 
and  lived  at  Belluno.  He  is  known  to  have  painted 
frescoes  in  the  church  of  Ampezzo,  Cadore,  in 
1356. 

VITUS,  DOMENICO,  an  Italian  engraver,  was  born 
about  the  year  1536.  The  facts  of  his  life  are 
little  known.  He  is  supposed  to  have  studied 
engraving  under  Agostino  Veneziano,  whose  style 
he  imitated  with  some  success.  In  the  prime  of 
life  he  retired  to  the  monastery  of  Valombrosa, 
in  the  Apennines.  Among  his  plates  are  the 
following : 

St.  Bartholomew ;  inscribed,  Dom.  Vitis  ordinis  ValiS' 
umhrosw  Monachus  excidit  Romas.     1576. 

St.  Joachim  holding  a  Censer  ;  after  A.  del  Sarto, 

Jupiter  ind  Calisto ;  inscribed,  Dominicus  V.  F. 

A  set  of  small  plates  representing  the  Passion,  the 
borders  ornamented  with  birds,  beasts,  &c. 

A  set  of  plates  from  the  Antique  ;  Dom.  Vitus  fee. 

VIVA,  Tommaso  de,  an  Italian  painter  of  histori- 
cal subjects,  was  born  at  Rome  in  171)0,  and  painted 
•much  for  the  public  buildings  of  that  city.  He 
was  a  professor  in  the  Instituto  delle  Belle  Arte, 
Inspector-general  of  all  the  Royal  Galleries,  and  a 
member  of  the  Academies  of  the  Pantheon  and  San 
Luca.  He  received  many  lionours  from  the  Italian 
Government,  and  continued  the  active  exercise  of 
his  profession  down  to  the  time  of  his  death,  which 
occurred  in  October  1884. 

VIVARES,  Franqois,  was  a  native  of  France, 
but  passed  the  greater  part  of  his  life  in  England. 
He  was  born  near  Montpellier,  July  11,  1709,  and 
was  apprenticed  to  a  tailor,  but  was  in  the  habit 
of  drawing,  etching,  and  even  engraving,  during 
his  leisure.     When  eighteen  years  old  he  came  to 


London,  where  he  studied  under  J.  B.  Chatelain. 
Being  a  man  of  ability,  he  improved  upon  the 
style  of  his  master,  and  became  one  of  the  most 
eminent  landscape  engravers  of  his  time.  He  was 
particularly  successful  in  his  plates  after  Claude 
Lorrain.  Eventually  Vivares  formed  a  school  of 
engravers,  and  to  him  and  his  fellow-countryman 
Bal^chou  must  be  accorded  the  credit  of  founding 
the  school  of  landscape  engravingwhich  was  carried 
to  such  perfection  by  the  genius  of  Woollett  and 
others.  In  1766  he  entered  the  Incorporated  Society 
of  Artists,  and  died  in  London,  November  6,  1780, 
after  a  residence  of  thirty  years  in  England.  He  has 
left  some  hundred  and  fijfty  prints ;  among  them 
the  following : 

A   set   of  four   Views  of  Eiiins  ;    after  J.   Smith  {of 

Chichester). 
Eight  Views  in  Derbyshire ;  after  Thos.  Smith  of  Derby. 
A   Landscape,  called   the   Hop-gatherers;   after   Geo. 

Smith  {of  Chichester). 
A  Landscape  ;  after  Gainshorough. 

A  View  in  Holland,  by  moonlight ;  after  Van  der  Neer. 
A  Land-storm  ;  after  Gaspard  Foussin. 
A  Tempest,  with  the  history  of  Jonah  ;  after  the  same. 
A  Landscape,  Morning  ;  after  Claude  Lorrain. 
The  Companion,  Evening  ;  after  the  same. 
The  Enchanted  Castle  ;  after  the  same. 
A  View  In  the  Environs  of  Naples ;  after  the  same. 

VIVARES,  Thomas,  an  English  engraver,  born 
in  London  about  1735.  He  was  one  of  the  thirty- 
one  children  of  Francois  Vivares,  by  whom  he  was 
taught,  and  gained  a  prize  at  the  Society  of  Arts 
in  1761.  He  engraved  several  architectural  plates 
for  the  works  of  the  brothers  Adam,  published  in 
1773,  but  some  of  his  plates  are  after  drawings  by 
himself.  He  also  taught  drawing.  He  exhibited 
a  few  works  at  the  Academy,  the  Society  of  Artists, 
and  the  Free  Society,  between  1764  and  1788;  after 
the  latter  date  we  can  find  no  trace  of  him. 

VIVARINI,  Andrea,  or  Andrea  da  IVIurano, 
painter,  flourished  at  Murano  at  the  end  of  the 
15th  century,  and  was  thought  to  have  been  of 
the  same  family  with  Antonio  and  Bartolommeo 
Vivarini,  but  of  that  there  is  no  evidence.  In 
1501  he  painted  a  large  altar-piece  for  the  church 
Trebaseleghe,  near  Noale,  as  we  know  from  the 
document  recording  payment  for  it,  which  still 
exists  in  the  parish  archives.  In  the  Venice 
Academy  there  are  two  figures  of  saints  by  him. 
They  once  formed  part  of  an  ancona  in  the  church 
of  S.  Pietro  Martire,  Murano,  which  has  been 
dismembered. 

VIVARINI,  Alvise,  (or  Ldigi  in  common 
parlance,)  was  the  son  of  Antonio  Vivarini,  and 
not  of  Bartolommeo,  as  has  so  often  been  supposed. 
He  was  born  in  or  about  1446-1447,  some  fifteen 
years  later  than  the  date  usually  fixed  upon  by 
most  writers  as  the  probable  one.  His  earliest 
artistic  education  was  probably  received  at  the 
hands  of  his  father,  Antonio,  but,  to  all  intents 
and  purposes,  Bartolommeo  was  his  real  master, 
and  it  is  to  the  work  of  the  latter,  far  more 
than  to  that  of  Antonio,  that  Alvise's  creations 
show  the  closest  outward  resemblances.  The 
thoroughness  with  which  Alvise  had  assimilated 
the  outward  characteristics  of  Bartolonimeo's 
style,  as  well  as  the  later  manner  of  his  father 
Antonio,  is  clearly  demonstrated  in  the  earliest  of 
his  signed  and  dated  works  that  have  been  pre- 
served to  us — the  polyptych  of  the  '  Madonna  and 
Child  with  Saints,'  painted  in  1475  for  the  Francis- 
can convent  of  Montefiorentino,  between  Citt&  di 
Castello  and  Urbino,  and  still  to  be  seen  in  the 

311 


A   BIOGRAPHICAL   DICTIONAKY   OF 


churcli    of    that    remote   monastery.     Despite   its 
close   affinities   with    the   work   of    Antonio    and 
Bartoloinineo,  this   interesting   altar-piece   shows 
Alvise  to  have  been,  at  the  time  of  its  execution, 
an  already  independent  master,  and  one  who  had 
studied  not  only  in   the  studios  of  his  Muranese 
relations,  but  also  in  the  neighbouring  school  of 
Padua.    But  if  Alvise  shows  unmistakable  signs 
of    his   peculiar    and    growing    individuality   in 
this  polypt3-ch,   he   comes  before  us  as  an  artist 
in  the  full    possession  of  a   set   and   determined 
style  in  the  next  dated  work  by   his   hand — the 
altar-piece  of  tlie  '  Madonna  and  Child  with  six 
Saints,'   painted  by  him  in   1480  for  the  Cliurch 
of  San    Francesco   at  Treviso,   and   now   in   the 
Academy  at  Venice.     The  progress  and  develop- 
ment  which   this   work    displays   in    comparison 
with  tlie  polyptych  at  Montefiorentino  are  little 
less  than  surprising  for  the  relatively  sliort  space 
of  time   that   had    elapsed    between    the   execu- 
tion of  the   two   paintings,    and    prove    that   the 
intervening  years  had  been  for  Alvise  a  period  of 
particularly   rapid   evolution.     Here   we   find   no 
longer  the  conventional  arrangement  of  the  altar- 
piece  according  to  the  manner  of  the  vastpolyptychs 
so   long  in   vogue   at   Venice,    with   each   figure 
separated  from  its  companions  and  enclosed  in  a 
niche  of  its  own,  but  a  united  and  organic  com- 
position within  a  single  framework.     The  import- 
ance of  tliis  revolutionary  step  against  the  con- 
servative traditions  of  the  Muranese  school  cannot 
be  overestimated  in  its  effect  upon  the  development 
of  Alvise's  art,  as  winning  for  him   at  once  the 
opportunity   for   the   satisfactory   display   of  his 
peculiarly  expressive,  and  one  may  say  dramatic, 
talent.   Tliird  in  the  order  of  Alvise's  signed  works 
comes  a  little-known   picture   of    the    '  Madonna 
and  Child,'  dated   1483,  in  the   Church   of  Sant' 
Andrea  at  Barletta,    in  which  the  master    seems 
to  show,  to  some  extent,  the  quasi-Flemish  influ- 
ences   of   Antonello    da    Messina,    especially   in 
the    peculiar   treatment  of   the   draperies.      Two 
years   later,  in    1485,   he  painted    the    '  Madonna 
with    SS.    Francis   and    Bernardino,'   now   in   the 
Gallery  of  the  Naples  Museum.     To  the  year  1489 
belonj^s  the  charming  picture  of  the  '  Virgin  adoring 
the  Child,'  in  the  Gallery  at  Vienna— a  work  which 
closely  foreshadows  the  very  similar  painting,  of  a 
somewhat  later  date,  in  the  sacristy  of  the  Reden- 
tore  at  Venice.     The  '  Head   of  the  Redeemer,'  in 
the  Church  of  San  Giovanni  in  Bragora,  is  dated 
1493. 

In  1498  Alvise  painted  the  remarkable  panel  of 
the  '  Resurrection  of  Christ,'  also  in  San  Gio- 
vanni in  Bragora,  which,  in  its  glowing  warmth 
of  colour,  its  soft  treatment  of  the  flesh,  and  its 
freedom  of  conception,  anticipates  much  in  the 
Venetian  art  of  a  later  period.  The  large  altar- 
piece  of  '  St.  Ambrose  Enthroned,'  in  the  Church 
of  the  Frari,  was  Alvise's  last  great  work,  and  was 
probably  commenced  in  1501.  Itwas  unfortunately 
left  uncompleted  at  the  time  of  the  painter's  death 
in  1502,  and  was  finished  by  his  pupil,  Marco 
Basaiti,  who  was  probably  responsible  for  the 
interpolation  of  the  two  figures  of  SS.  Sebastian 
and  Jerome,  which  go  so  far  to  detract  from  the 
otherwise  masterly  grouping  and  arrangement  of 
the  whole.  Of  Alvise's  undated  works,  the  most 
important  are  certainly  the  two  large  altar-pieces 
now  preserved  in  the  Gallery  at  Berlin.  The 
earlier  of  these,  representing  the  '  Madonna  and 
Child  Enthroned,  with  six  Saints  and  two  boy 
312 


Angels,'  was  originally  in  the  Church  of  S.  Maria 
de'  Battuti  at  Belluno,  and  is,  on  the  whole,  not 
only  the  most  monumental  and  impressive  of  all 
Alvise's  larger  works,  but  also  one  of  the  most 
ambitious   compositions    undertaken,   up    to    the 
time,  by  any  Venetian  artist.    Although  attributed 
by  some  critics  to  as  late  a  date  as  1501 — the  year 
of  the   Frari   altar-piece — it  is  quite  evidently  a 
much   earlier  creation,  painted  in  all  probability 
not  much   later  than    1485.    Such   works  as  this 
Belluno   altar-piece    undoubtedly   increased,  still 
further,  the  rivalry  between  the  two  masters  and 
their  respective  schools,  and  that  Alvise  did  not 
consider  himself  inferior  to  his  Venetian  contem- 
poraries is  clearly  shown  by  the  letter  which  he 
addressed  to  the  Signoria,  in  July  1488,  begging 
that   he   should    be   allowed   to    prove    his   skill, 
side  by  side  with  the  two  Bellini,  in  the  decora- 
tion of  the  Sala  del  Gran  Consiglio.     The  prompt 
reply    of  the    Signoria    to    Alvise's    letter,    and 
their   immediate   acceptance   of   his   services   are 
another  proof  that   he    enjoyed   no  mean  reput- 
ation   at    the    time.      Unfortunately   for   us,   the 
canvases   executed   by  him,   which  were  two  in 
number,    and    represented    '  Otho    promising    to 
mediate    between   Venice    and    Barbarossa,'    and 
'  Barbarossa   receiving  his  Son,'   were  destroyed, 
together  with  the  paintings  executed  by  the  Bellini, 
in  the  fire  of  1577,  and  we  thus  have  no  means  of 
testing  Alvise's   powers  as  an  historical  painter. 
Alvise  seems  to  have  been  intermittently  occupied 
upon  these   works  from   1488  until  his  death  in 
1502.     That    the    Signoria    was,    however,    well 
satisfied  with  his  efforts,  seems  certain  from  the 
fact   that,  in    1492,   he   received   from   them   the 
honorary  title  of  Depentor  in  Gran  Conseio,  and  a 
regular  stipend!  ary  of  five  ducats  a  month.  Toreturn 
to  the  examination  of  Alvise's  principal  undated 
works,  we  find  the  second  of  the  two  altar-pieces 
at  Berlin,  exhibiting  characteristics  which  mark  it 
as  having  been  painted  some  few  years  later  than 
the  Belluno  piece.     It  represents  the   'Madonna 
with  SS.  Sebastian,  Augustus,  Jerome,  and  John 
the  Baptist,'  and  was  originally  executed  for  the 
Church  of  San  Cristoforo  at  Murano.     Somewhat 
earlier  than  this  Murano  altar-piece  are  to  be  placed 
such  works  as  the  remarkably-characterized  '  Head 
uf  St.  Clara  of  Apsisi,'  in  the  Academy  at  Venice, 
and  the  fine  figure  of  the  '  Baptist  Preaching,'  in  the 
same  collection.   Somewhere  about  1490,  or  perhaps 
a  very  few  years  later,  Alvise  must  have  painted 
the    '  Madonna   and    Child    with   Angels '   in   the 
sacristy  of  the  Church  of  the  Redentore  at  Venice 
— one  of  the  loveliest  of  all  his  creations — remark- 
able  alike   for   its   deeply   devotional  feeling,  its 
simplicity  of  conception,  and  its  bright  colour  and 
careful  technical  execution.     Although  still  tradi- 
tionally attributed  to  Giovanni  Bellini,  it  shows 
no  further  signs  of  that  master's  influences  than 
do  Alvise's  other  paintings.     This  picture  is  almost 
a  replica  of  the  Madonna  of  1489,  in  the  Gallery 
at  Vienna.     A  later,  and  unfortunately  but  little- 
known   work   by  Alvise,  is   the   beautiful   single 
figure   of    '  Sta.    Giustina   de'    Borromei,'   in    the 
collection  of  Sig.  Bagati-Valsecchi  at  Milan — one 
of  the  most  exquisite  creations  of  later  Venetian 
Quattrocento  art. 

A  careful  study  of  Alvise's  works,  and  more 
especially  of  certain  of  the  highly-individualized 
heads  to  be  found  in  his  various  altar-pieces 
— not  to  mention  the  existence  of  at  least  one 
signed    portrait     (once    in     the     Bonomi-Cereda 


LUIGI  VIVARINI 


Hattjit.uii^l l-iu'to^  \_Bciiin  Gallery 

THE  MADONNA  AND  CHILD,   WITH  SAINTS 


PAINTERS  AND  ENGRAVERS. 


Collection  at  Milan,  now  in  the  poesesBion  of 
Mr.  George  Salting,  of  London) — would,  it 
would  seem,  have  long  ago  awakened  a  special 
interest  on  the  part  of  critics  in  Alviae's  remark- 
able talent  for  portraiture.  It  has  remained,  how- 
ever, for  comparatively  recent  connoisseursliip  to 
give  back  to  him  a  number  of  portraits  which  have 
hitherto  passed  under  other  names.  Among  them 
we  may  note  such  works  as  the  head  of  a  man, 
ascribed  to  Antonello  da  Messina,  in  the  Communal 
Gallery  at  Padua ;  the  charming  bust  of  a  boy, 
once  in  the  Duchatel  Collection  at  Paris,  and  now 
belonging  to  Mr.  Salting,  formerly  attributed  both 
to  Antonello  aud  Andrea  Solario  ;  the  fine  portrait 
of  Bernardo  di  Sella  in  the  Louvre,  generally 
ascribed  to  Savoldo  ;  that  of  a  man  with  a  hawk, 
at  Windsor  Castle,  also  given  by  some  critics  to 
Savoldo ;  another  remarkably  vigorous  bust  of  a 
man,  attributed  to  Antonello,  in  the  possession 
of  the  Comtesse  de  Biarn  at  Paris  ;  and  the  striking 
portrait  of  a  Venetian  Senator,  in  the  Stuttgart 
Gallery,  there  catalogued  as  by  Jacopo  de' 
Barbari.  Alvise's  pretended  connection  with 
Giovanni  Bellini,  and  the  strong  influence  which 
so  many  critics  believe  that  master  to  have  exer- 
cised over  him  at  various  periods  of  his  career, 
certainly  cannot  be  proved  by  any  analysis  of  the 
Muranese  painter's  style.  The  further  .supposition 
that  he  was  at  one  time  a  foreman  in  Giovanni's 
workshop  is  as  little  supported  by  a  critical  ex- 
amination of  the  works  of  the  two  masters,  as  it 
is  by  other  and  less  purely  artistic  probabilities. 
Alvise,  with  all  his  unconscious  tendencies  towards 
innovation,  remained  faithful,  in  almost  all  outward 
questions  of  style  and  manner,  to  the  traditional 
teachings  of  his  father's  time-honoured  school. 
As  we  have  already  seen,  the  work  of  certain  other 
artists,  such  as  Antonello  da  MessiTia,  was  not 
without  a  passing  effect  upon  his  style,  but  we 
look  in  vain  for  any  marked  signs  of  Bellini's 
influence,  and,  apart  from  this,  Alvise's  talent  was 
of  a  sufficiently  high  order  to  be  responsible  in 
itself  for  the  many  significant  steps  in  his  artistic 
development.  Alvise's  technical  methods  were 
inherited  from  his  Muranese  kinsmen,  and,  although 
he  seems  to  have  adopted  oil  as  a  substitute  for 
tempera  at  a  fairly  early  date,  he  never  acquired  the 
mastery  over  the  new  medium  that  distinguished 
the  work  of  Giovanni  Bellini.  For  a  long  period 
he  seems  to  have  treated  it  very  much  in  the 
manner  of  the  older  tempera  painting,  so  that  many 
of  his  pictures  give  the  impression  of  having  been 
executed  in  tempera  rather  than  in  oil.  It  is  only 
in  his  later  woiks,  such  as  the  'Resurrection'  in 
S.  Giovanni  in  Bragora,  and  the  Frari  altar-piece, 
that  we  note  a  freer  and  more  "  modern  "  handling 
of  the  new  medium.  Alvise's  influence  on  the 
succeeding  generation  of  Venetian  painters  was 
a  strong  aud  lasting  one.  Among  those  who 
benefited  by  it  to  a  greater  or  a  less  degree,  are 
to  be  counted  :  Jacopo  di  Barbari,  Marco  Basaiti, 
Francesco  Bonsignori,  Cima  da  Conegliano,  Lorenzo 
Lotto,  Bartolommeo  Montagna,  Pordenone,  and 
even  Antonello  da  Messina  himself.  Despite  the 
efforts  of  modern  criticism,  Alvise  is  still  far  from 
enjoying  his  due  share  of  fame.  By  far  the  best 
appreciation  of  his  work  and  genius  that  has  yet 
appeared,  is  to  be  found  in  Mr.  Bernhard  Berenson's 
'  Lorenzo  Lotto '  (Second  Edition,  Bell  &  Sons, 
London,  1901).  L.  0. 

List  of  principal  works  : 
Earletttt.     S.  Andrea.   Madonna.     1483. 


Berlin.  Oallery.     Madonna    and   Child    Enthroned 

with  six  Saints. 
„  „  Enthroned    Madonna    with    four 

Saints. 
London.     Nat.  Gall.    Virgin  and  Child. 

"  Cohen    \  1"°^^^'*  °f  Venetian  Nobleman. 

„   Mr.  G.  Salting.     Bust  of  Man.     1497. 
,,  ,,  Portrait  of  Youth. 

Longniddry.  Gosford^ 

House,  K.B.  vBust  of  Man. 
Lord  lVemy$3.) 
Milan.  Brera.     Dead  Christ  adored  by  Angela. 

"      ^'"^S^js.Giustinade'Borron.ei. 

Modena.        Gallery.  Portrait  of  Man. 

Montefiorentino.  Polyptych.     1475. 

Naples.  Museo.  Madonna  and  two  Saints.     1485, 

Padua.  Gallery.  Portrait  of  Man. 

Paris.  Lout-re.  Portrait  of  Bernardo  Sella. 

<^'"'"""''^1  Portrait  of  Man. 

Stuttgart.     Gallery.     Bust  of  Venetian  Noblenaan. 
Venice.        Academy.     SS.  Matthew,  John  the  Baptist, 

Sebastian,  Anthony  Abbot,  and 

Lawrence. 
„  „  St.  Clara  of  Assisi. 

„  ,,  Head  of  Christ. 

„  „  Madonna  and  six  Saints.     1480. 

„      Iluseo  Correr.     St.  Anthony  of  Padua. 
,,  Frari.     St.     Ambrose     Enthroned     with 

attendant  Saints.  1503  (Jinished 

by  Basaiti). 
„    S.  Giovanni  in  1  ^,.^„„_. 
Brayora.  j  J>ladonna. 
„  „  Head  of  Christ.    1493. 

„  „  Resurrection.    1498. 

„  ,,  Predelle  to  above. 

,,        SS.  Giovanni )  ^.    .  .  ,        .       ^ 
"  g  Paolo,  i  ^'^^'^^^  bearmg  Cross. 

„  Redentore.     Madonna  and  Angels. 

„       Lady  Layard.     Portrait  of  Man. 
„  Seminario.     Portrait  of  Man. 

VIVARINI,  Antonio,  or,  more  properly  speak- 
ing, Antonio  da  Murano,  was  born,  in  all  pro- 
babihty  at  Murano,  during  the  first  quarter  of  the 
16th  century,  although  the  exact  date  of  his  birth 
has  not  been  handed  down  to  us.  Together  with 
his  partner,  Giovanni  da  Murano  (Johannes 
Alemannus),  he  must  be  looked  upon  as  the 
founder  of  the  famous  school  of  painting  known  as 
that  of  Murano.  Where  Antonio  acquired  the 
beginnings  of  his  education  we  do  not  know, 
but  his  earlier  work  clearly  shows  him  to  have 
been  powerfully  influenced  by  both  Gentile  da 
Fabriano  and  Pisanello.  The  theory  that  Gio- 
vanni was  originally  a  member  of  the  school  of 
Cologne  is,  on  the  other  hand,  fairly  corroborated 
by  certain  unmistakable  German  elements  which 
appear  in  most  of  the  works  which  the  two  masters 
produced  together.  The  Italian  Giovanni  da 
Murano,  to  whom  the  later  works  of  Johannes 
Alemannus  have  been  ascribed,  is  now  acknow- 
ledged to  be  nothing  more  than  a  mythical 
personage  invented  by  certain  Italian  writers 
whose  zeal  for  the  honour  of  their  native  school 
was  greater  than  their  love  of  truth.  We  are  in 
ignorance  as  to  the  exact  time  at  which  the 
partnership  between  Antonio  and  Giovanni  may 
have  begun,  nor  do  we  know  where,  or  for  how 
long,  each  painter  had  exercised  his  profession 
before  entering  into  this  alliance.  Those  of  their 
signed  productions  which  have  come  down  to  us 
prove,  however,  that  both  were  mature  artists  at 
the  time  these  were  painted,  and  incline  us  to 
believe  that  each  had  already  behind  him  no  few 
years  of  independent  professional  activity.  The 
earliest  dated  work  which  bears  their  united  names 

313 


A   BIOGRAPHICAL  DICTIONARY  OF 


IS  a  much-damaged  and  heavily-repainted  picture 
of  the  '  Coronation  of  the  Virgin,'  once  in  the 
cliurch  of  San  Barnabi,  and  now  in  the  Academy 
at  Venice.  This  panel  is  dated  1440,  and  bears 
tlie  earlier  of  the  two  forms  of  signature  which 
appear  to  have  been  used  at  different  times  by  the 
two  partners,  i.e.  Johannes  et  Antonius  de  Muriano. 
The  authenticity  of  this  work  has  been  doubted 
by  some  critics,  by  wliom  it  lias  been  pronounced 
a  later  free  copy  of  a  very  similar  painting  of  the 
same  subject  in  the  church  of  San  Pantaleone  ;  but 
its  present  condition  is  such  as  to  render  a  definite 
verdict  as  to  its  genuineness,  or  tlie  reverse,  a 
difficult  matter.  Of  the  two  versions,  that  in  San 
Pantaleone  is  the  more  elaborate,  and,  apart  from 
its  somewhat  better  preservation,  is  by  far  the 
finer  picture.  It  is  signed  in  Gothic  lettering  as 
follows  :  Xpofol  di  Ferrara  Ualo-Zuane  et 
Antonio  de  Muran.  pense  1444.  Tbe  composition, 
which  is  perhaps  unique  in  Italian  painting, 
combines  much  that  is  evidently  original  witli 
elements  that  clearly  show  their  descent  from 
those  Neo-Byzantine  traditions  which  were  still 
rife  at  Venice  even  at  this  late  date.  During 
tbe  period  which  elapsed  between  these  two 
paintings  of  the  'Coronation' — if  we  allow  the 
possible  genuineness  of  the  example  in  the  Venice 
Academy — they  seem  to  have  been  well  occupied 
in  the  execution  of  a  number  of  important  works. 
A  picture  of  the  '  Apotheosis  of  St.  Jerome,'  painted 
by  them  in  1441  for  the  church  of  Sta.  Stefano, 
can  no  longer  be  traced,  but  three  huge  composite 
altar-pieces  bearing  their  names  still  exist  in  the 
sacristy  of  San  Zaccaria  at  Venice.  These  were 
evidently  executed  in  direct  succession.  Two  of 
them  bear  the  genuine  date  of  1443  ;  the  inscription - 
on  the  third  has  been  renewed,  and  in  its  present 
condition  refers  to  the  year  1444.  We  meet  in 
all  three  of  these  works  with  that  generous  mixture 
of  plastic  and  pictorial  art  so  often  to  be  found  in 
the  productions  of  the  North  Italian  schools  at 
this  particular  period.  Side  by  side  with  poly- 
chrome statues  and  reliefs  we  find  various  painted 
panels,  the  whole  enclosed  in  Gothic  framework 
of  the  most  elaborate  description.  Of  these  three 
polyptyclis,  the  most  important  is  that  bearing  tbe 
repainted  date  of  1444,  but  tliere  is  a  great  similarity 
of  style  in  all.  Tlie  influence  of  Gentile  da 
Fabriano  is  here  even  more  strongly  marked  than 
in  the  picture  at  San  Pantaleone,  and  the  figures 
and  faces  have  quite  an  Umbrian  air  of  softness. 
In  1445  the  two  painters  executed  the  figures  of 
'  SS.  George  and  Stephen '  on  the  organ-shutters 
at  San  Giorgio  Maggiore.  These  panels,  now 
lost,  were  evidently  the  first  to  bear  the  later 
form  of  signature  used  by  the  two  painters,  and 
were  signpd,  according  to  Zanetti,  as  follows  : 
1445.  Johinnes  de  Alemania,  et  Antoniiis  de 
Murinno,  pin.  To  the  succeeding  year,  1446, 
belongs  one  of  the  most  important  existing  works 
which  resulted  from  the  joint  labours  of  the  two 
masters— the  canvas  of  the  'Virgin  and  Child 
Enthroned  with  the  four  Doctors  of  tbe  Church 
and  attendant  Angels,'  which  was  painted  for  tbe 
Scuola  della  Carita,  now  the  Academy,  at  Venice. 
In  1447  the  two  painters  executed  a  large  altar- 
piece  for  the  church  of  San  Francesco  at  Padua, 
which  has  now  disappeared.  This  appears  to 
have  been  one  of  the  last  works  to  bear  their 
united  names,  for  after  tliis  we  hear  no  more 
of  Giovanni,  and  in  1450  we  know  Antonio  to 
have  already  entered  into  a  fresh  partnership  with 
314  ^ 


his  younger  brother  Bartolommeo.  Other  unsigned 
works,  however,  exist,  which  are  undoubtedly  due 
to  the  earlier  connection.  Among  them  are  a  very 
lovely  little  picture  of  the  '  Virgin  and  Child,'  in 
the  church  of  San  Filippo  at  Padua  ;  a  not  less 
pleasing  '  Madonna  and  Child  with  Angels,'  in  the 
Poldi-Pezzoli  Collection  at  Milan  ;  and  a  large 
polyptych  of  the  '  Virgin  and  Child  with  Saints,' 
in  the  Brera  Gallery  of  the  same  city.  The  first 
signed  product  of  Antonio's  partnership  with 
Bartolommeo  is  to  be  found  in  the  fine  polyptych, 
painted  in  1450  for  the  Certosa,  and  now  in  the 
Communal  Gallery,  of  Bologna.  The  remarkable 
development  which  this  altar-piece  exhibits  in 
comparison  with  Antonio's  earlier  work  is  no 
doubt  due  to  the  new  influence  of  Bartolommeo's 
own  remarkable  individuality,  and  it  is  not  difficult 
to  trace,  up  to  a  certain  point,  the  part  due  to 
each  artist  in  the  whole.  That  the  influence  of 
Bartolommeo's  artistic  personality  began,  from 
this  time  onward,  to  work  with  constantly  increas- 
ing effect  on  his  elder  brother's  style,  there  is  little 
reason  to  doubt,  for  we  find  the  above-mentioned 
characteristics  developed  to  a  still  greater  degree 
in  other  works  which  seem  to  have  followed  closely 
on  the  great  polyptych  at  Bologna,  such  as  the 
fine  and  almost  Mantegnesque  remnants  of  an  altar- 
piece  in  the  church  of  SS.  Pietro  e  Paolo  at  Pausula  ; 
the  two  medallion  figures  of  '  SS.  Crispin  and 
Nicholas '  in  the  sacristy  of  Santa  Maria  della 
Salute  at  Venice  ;  two  panels  of  '  SS.  Paul  and 
Jerome '  in  the  Lochis-Carrara  Gallery  at  Bergamo  ; 
and  a  fine  triptych  of  the  '  Annunciation  and  two 
Saints,'  belonging  to  Don  Guide  Cngnola,  at 
Gazzada,  near  Milan.  Other  works  of  tliis  same 
period  of  fraternal  partnership,  in  which,  however, 
the  two  masters  seem  to  have  done  little  more 
than  overlook  the  labours  of  assistants,  are  to  be 
found  in  a  dismembered  polyptych,  representing 
the  'Glorification  of  St.  Peter,'  executed  in  1451 
for  the  church  of  San  Francesco  at  Padua,  and  now 
in  the  Communal  Gallery  of  that  town  ;  and  in 
another,  and  probably  later,  altar-piece,  at  Osimo, 
near  Ancona.  But  this  partnership  between  the 
two  brothers  does  not  appear  to  have  lasted  much 
beyond  1459,  in  which  year  Bartolommeo  was 
already  fiillilling  commissions  on  his  own  account. 
Left  to  himself,  Antonio  now  commenced  to  show 
signs  of  an  artistic  decline,  due  possibly  to  his 
advancing  age,  and  also  to  the  fact  that  during 
these  later  years  he  appears  to  have  relied  rnore 
and  more  on  the  help  of  his  assistants.  This  is 
clearly  to  be  seen  in  such  works  as  the  picture  of 
the  '  Annunciation,'  in  the  church  of  San  Giobbe 
at  Venice,  in  which  we  note  a  partial  return  to  the 
master's  earlier  manner  ;  and  in  the  later  polyptych 
of  '  St.  Anthony  Abbot  and  other  Saints,'  painted 
in  1467  for  the  church  of  St.  Anthony  at  Pesaro, 
and  now  in  the  Lateran  Gallery  at  Rome.  The 
date  of  Antonio's  death  is  unknown,  but  he  appears 
to  have  been  still  alive  in  1470,  in  which  year  he 
is  said  to  have  decorated  the  church  of  Sant 
Apollinare  at  Venice  with  frescoes  that  have  since 
disappeared.  This  is  the  last  notice  which  we 
possess,  artistic  or  otherwise,  in  regard  to  him. 
One  of  the  most  interesting  of  Antonio's  unsigned 
works,  and  one  deserving  of  especial  mention  here, 
is  the  delightful  panel  of  the  '  Adoration  of  the 
Magi,'  in  the  Gallery  at  Berlin.  This  picture, 
long  attributed  to  Gentile  da  Fabriano,  shows 
more  strongly  than  any  other  the  remarkable 
influence  which  the  works  of  the  Umbrian  master 


5 


o 

O 
H 


2 


o 

O 


PAINTERS  AND  ENGRAVERS. 


and  his  contemporary,  Pisanello,  exercised  over 
the  Muranese  painter.  It  is,  without  doubt,  a 
very  early  creation  of  Antonio,  and  was  evidently 
painted  quite  independently  of  Giovanni,  and  very 
probably  before  his  connection  with  that  artist. 
Other  very  Gentilesque  productions,  also  of  an 
early  period,  are  the  four  predelle  with  scenes  from 
the  'Lives  of  Glirist  and  the  Virgin'  (Nos.  1280- 
1283)  in  the  Louvre,  attributed  by  the  catalogue 
to  the  school  of  Gentile  da  Fabriano.  Possibly 
by  Giovanni  da  Murano  himself  may  be  the  single 
figure  of  '  St.  Catherine,'  attributed  to  him,  in  tlie 
Gallery  at  Venice.  I,  0. 

List  of  principal  works  ; 

Bergamo.  Lochis-}SS.  Paul    and  Jerome   (with 

Carrara  Gall.  J      Bartolonimeo). 
Berlin.  Gallery.     Adoration  of  the  Magi  (E.). 

Bologna.  Gallery.     Polyptych.    1450  (with  Barto- 

lommeo). 
Brescia.  Seminario.    S.  Ur.sula  and  SS.  Peter  and 

Paul  {xcith  Giovanni). 
Gazzada.  ^"^J^^^f"  }  Triptych  (with  Bartolommeo) . 

London.  Nat.  Gall.     SS.    Peter   and  Jerome  (with 

Giovanni). 
Milan.  Brera,     Polyptych  (with  Giovanni). 

„  Poldi-Pezzoli.     Madonna    and    Angels    (with 

Giovanni). 
0.simo.  Pinacoteca,     Polyptych   (uith  Bartolonimeo 

and  assistants). 
Padua.  Gallery.    'Po]jpiych(icitk  Bartolommeo), 

„  San  Filippo.     Madonna     and     Child     (with 

Giovanni). 
Paris.  Louvre.    Predelle. 

Pausula.       55'.  Pietro  e  )  Fragments  of  Polyptych  (with 

Paolo.  )      Bartolommeo). 
Rome.  Lateran.     Polyptych.     1467. 

Venice.  Academy.     Coronation    of    Virgin.     1440 

(u'ith  Giovanni)  (?). 
„  ,,  Madonna  and  Child  with  Saints 

and     Angels.      1446     (with 
Giovanni). 
„  S.  Zaccaria.     Polyptych     (leith     Giovanni). 

1444  (?). 
„  ,,  Polyptych.     1443    (with    Gio- 

vanni). 
„  ,,  Polyptych.     1443    (loith    Gio- 

vanni). 
„         San  Pantaleone.     Coronation    of    Virgin.    1444 

(with  Giovanni). 
„  San  Giohhe.     Anmmciation. 

VIVARINI,  Bartolommeo,  or  B.\rtolommeo  da 
Murano,  as  he  was  wont  to  sign  himself  during 
the  earlier  part  of  his  career,  was  a  younger  brother 
of  Antonio  da  Murano.  The  exact  date  of  his 
birth  is  unknown  to  us,  and  there  is  as  great  a 
dearth  of  documentary  notices  concerning  him  as 
there  is  in  regard  to  Antonio.  Although  the 
influence  of  the  school  of  Padua  is  obvious  and 
predominant  in  almost  all  his  paintings,  his  early 
artistic  education  was  doubtless  acquired  under 
Antonio's  guidance,  and  it  is  in  partnership  with 
his  brother  that  we  first  become  acquainted  with 
his  acknowledged  work.  The  earliest  signed  and 
dated  product  of  this  artistic  alliance  left  to  us,  is 
the  polyptych  of  the  '  Madonna  and  Child  with 
Saints,'  executed  in  1450  for  the  Carthusians  of 
Bologna,  and  now  in  tlie  Communal  Gallery  of 
that  city ;  but  it  is  more  than  probable  that 
Bartolommeo  was  already  taking  an  active  share 
in  the  execution  of  a  goodly  number  of  his  elder 
brother's  commissions  at  a  period  considerably 
before  this  date.  Tlie  altar-piece  at  Bologna — 
justly  considered  one  of  the  fiuest  creations  of  its 
time  in  Northern  Italy — was  ordered  in  the  name 
of  Pope  Nicholas  V.,  and  was  intended  to  com- 


memorate the  valuable  services  of  that  Pontiff's 
friend  and  former  patron.  Cardinal  Niccol6  Alber- 
gati.  In  addition  to  tlie  date,  it  bears  the  following 
inscription—"  Hie  opus  inceptum  fuitet  perfectum 
Venetiis  ab  Antonio  et  Bartholomeo  fratribus  de 
Murano,  Nicolao  V.  Pont.  Max.  oh  monumeutum 
R.  P.  D.  Nicolai  Card.  tit.  Sanctse  Crucis."  Although 
the  combined  production  of  two  ditferent  hands 
seeking  to  create  an  effective  and  harmonious 
whole,  we  cannot  fail  already  to  clearly  recognize, 
in  many  of  the  details  of  this  interesting  work, 
the  peculiar  characteristics  and  marked  classical 
tendencies  which  distinguish  Bartolommeo  at  a 
later  period  of  greater  artistic  independence. 
Many  of  the  figures,  especially  as  regards  their 
heads  and  draperies,  display  a  noticeable  divergence 
from  Antonio's  normal  types,  and  it  is  not  difficult 
to  trace,  throughout  this  painting,  the  growing 
assertiveness  of  Bartolommeo's  own  particular 
style.  So  strongly  pronounced  are  these  new 
characteristics,  that  we  are  led  to  the  necessary 
conclusion  that  Bartolommeo's  had  already  become 
the  stronger  and  dominant  influence  in  the  fraternal 
partnership.  Another  work,  signed  and  dated 
by  the  two  brothers,  but  in  this  case  evidently 
in  no  small  part  the  handiwork  of  assistants, 
is  the  dismembered  polyptych  representing 
the  '  Glory  of  St.  Peter,'  with  various  attend- 
ant Saints,  painted  in  1451  for  the  Church  of 
San  Francesco  at  Padua,  and  now  in  the  Com- 
munal Gallery  of  that  city.  Other  and  better, 
though  undated,  productions  of  this  partnership 
are  to  be  found  in  the  fine,  tliough  almost  unknown, 
panels  of  '  SS.  Catherine,  Mary  Magdalen,  Paul 
and  George,  Nicholas  and  Peter,' — once  com- 
ponent parts  of  a  large  pulyptych — in  the  Ciiurch 
of  SS.  Peter  and  Paul  at  Pausula,  near  Macerata  ; 
in  two  figures  of  'SS.  Paul  and  Jerome,'  in  the 
Lochis-Carrara  Galler}'  at  Bergamo  ;  and  in  the  two 
medallions  of  '  SS.  Crispin  and  Nicholas  of  Bari,' 
in  the  sacristy  of  S.  Maria  della  Salute  at  Venice. 
Bartolommeo's  partnership  with  his  brother  does 
not  appear  to  have  prevented  him  from  accepting 
and  executing  commissions  on  liis  own  account. 
In  1459,  for  instance,  he  painted  the  panel  of  '  San 
Giovanni  Capistrano,'  now  in  the  Louvre,  which 
bears  the  inscription — "Opus  Bartholomei  Vivarini 
de  Murano."  This  is  not  only  the  earliest  instance 
of  Bartolommeo's  use  of  the  patronymic  of  Vivarini, 
later  to  become  so  famous,  but  is  also  tlie  earliest 
signed  example  of  his  work  as  a  purely  independent 
artist.  From  this  time  onward  his  active  connection 
with  Antonio  seems  to  havegradually  relaxed, until, 
in  1464,  the  old  partnership  appears  to  have  been 
finally  dissolved.  To  that  year  bilongs  the  altar- 
piece  of  the  'Virgin  and  Child  with  four  Saints,' 
originally  executed  for  the  Church  of  the  Certosa, 
on  the  island  of  Sant'  Andrea,  and  now  in  the 
Academy  at  Venice.  Here  we  find  Bartolonimeo 
in  the  full  possession  of  his  artistic  personality, 
although  clearly  displaying,  at  the  same  time,  his 
increased  indebtedness  to  Paduan  influences  and 
models.  A  year  later,  in  1465,  he  painted  for  a 
church  in  Bari  the  picture  of  the  '  Enthroned 
Virgin  and  Child  with  Saints  and  Angels,'  now  in 
the  Naples  Museum.  Bartolommeo  is  said  to  have 
been  the  first  Venetian  to  adopt  and  experiment 
with  the  new  methods  of  oil  and  varnisli,  hut, 
however  this  m.ay  liave  been,  he  does  not  in  reality 
ever  appear  to  have  abandoned  the  use  of  tempera 
as  his  chosen  and  well-tried  medium.  To  the  year 
1473  belongs  the  'Virgin  of  Mercy'  in  Santa  Maria 

315 


A   BIOGRAPHICAL  DICTIONARY  OF 


Formosa  at  Venice,  a  work  surpassing  all  those 
that  Bartolommeo  had  liitherto  produced  in  security 
of  draughtsmanship  and  successful  treatment  of 
form,  and  in  which,  among  other  visible  Man- 
tegnesque  influences,  he  seems  temporarily  to 
have  been  affected  by  the  Paduan  master's  peculiar 
dryness  of  colour.  To  this  same  year,  which  may 
be  said  to  mark  the  apogee  of  Bartolommeo's 
achievement,  belongs  one  of  the  very  finest  of 
his  panels — the  severely  impressive  seated  figure  of 
'  St.  Augustine,'  in  the  Church  of  SS.  Giovanni  e 
Paolo — remarkable  alike  for  its  masterly  technical 
execution,  and  its  masculine  vigour  of  conception. 
Bartolommeo's  works  seem  by  this  time  to  have 
brought  hira  no  small  renown,  and  to  have  ensured 
him  so  large  a  number  of  commissions  as  to 
oblige  him  to  rely  in  no  small  measure  upon  the 
aid  of  his  pupils  and  assistants  in  the  execution  of 
'a  large  number  of  paintings,  the  majority  of  which 
are  frankly  provided  with  a  new  form  of  signature, 
which  we  meet  with,  perhaps  for  the  first  time, 
in  the  interesting,  and  in  many  ways  notable, 
triptych  of  the  'Enthroned  St.  Mark  with  attendant 
Saints,'  painted  in  1474  for  the  Church  of  the 
Frari.  'This  work  is  signed — "  Opus  factum  per 
Bartholcmei  Vivarini  de  Muriano,  1474."  Although 
the  co-operation  of  assistants  is  obvious  in  parts  of 
this  work,  it  is  equally  certain  that  it  was  executed 
under  the  immediate  and  careful  supervision  of 
the  master  himself,  who  evidently  took  the  prin- 
cipal share  in  its  completion.  As  time  passed  on, 
however,  and  the  number  of  Bartolommeo's 
commissions  increased  in  proportion  to  his  fame, 
we  find  him  leaving  more  and  more  to  the  hands 
of  his  assistants  in  the  works  bearing  this  par- 
ticular form  of  signature,  until  we  come  across 
certain  examples  in  which  little  more  than  the 
original  cartoon  is  Bartolommeo's  own.  The 
works  which  Bartolommeo  executed  with  his 
own  hand  during  the  latter  part  of  his  career 
show  no  falling  off  from  the  high  ideal  which 
he  had  set  himself  from  the  beginning,  and, 
if  anything,  display  an  even  greater  broaden- 
ing out  of  his  style.  Among  the  more  important 
of  these  later  works  are  the  '  St.  Ambrose,  with 
four  other  Saints,'  painted  in  1477,  in  the  Gallery 
at  Vienna ;  the  '  Madonna  with  SS.  Andrew  and 
John,'  dated  1478,  in  S.  Giovanni  in  Bragora  at 
Venice;  a  'Virgin  and  Child'  of  1481,  in  the 
Turin  Gallery;  the  altar-piece  of  the  'Madonna 
and  Saints,'  executed  in  1482  for  the  Frari,  and 
still  in  that  church;  and  the  classic  'St.  Mary 
Magdalen,'  in  the  Academy  at  Venice.  The  fine 
panel  of  '  St.  Barbara,'  in  the  last-named  Gallery, 
is  one  of  Bartolommeo's  latest  signed  paintings,  and 
was  painted  in  1490  ;  but  he  Uved  and  worked  for 
some  time  beyond  that  year.  The  exact  date  of 
his  death  is  uncertain,  but  is  generally  believed  to 
have  been  1499,  or  thereabouts.  l_  q^ 

List  of  principal  works  : 

Co/lection.  J  Madonna  and  Saints. 
Bologna.         Communal }  Large    polyptych.      1450.     (In 

Gallery,  j      partnership  with  Antonio.) 
Boston,  U.S.A.        Mr.  )  c,i    ».        nr     j  i 

-  Qnincy  Shaw,  j  ^^-  ^"^  Magdalen. 
Fermo.  Count  Bemetti.     SS.  James  and  Francis. 
London.  Tfntional  Gall.     Madonna  and  Saiuts. 
Longniddrj-.       Gosford ) 

House,  XB.  VPolyptych.     (E.) 
Lord  JVemyss.J 
Meiningen.   Ducal  Pal.     An  Apostle. 
Naples.  Museum.     Madonna,  Saints,  and  Angels. 

1465. 
316 


Paris.  Louvre. 

Pausula     SS.  Peter  and  \ 
Paul,  i 


TuriDi. 
Venice. 

Gallery. 
Academy. 

»» 

,1 

& 

Frari. 

Giovanni  in  \ 

Brarjora.  j 

Giovanni  e  \ 

Paolo.  J 

M 

55 

„  5.  Maria  Formosa. 


Vienna. 


Gallery. 


S.  Giovanni  Capistrano,     1459. 

SS.  Catherine,  Mary  Magdalen, 
Paul  and  George,  Nicholas 
and  Peter.  (In  partnership 
with  Antonio.) 

Madonna.     1481. 

Madouna  and  Saint.     1464. 

St.  JIary  Magdalen. 

St.  Barbara.     1490. 

Madonna  and  Saints.     1482, 

Madonna  and  two  Saints.  1478. 

3t.  Augustine.     1473. 

St.  Dominic. 

St.  Lawrence. 

Triptych :     Madonna,   Nativity 

of  Virgin,  Meeting  of  Joachim 

and  Anna.     1473. 
St.  Ambrose,  SS.  Peter,  Louis, 

Paul  and  Sebastian.    1477. 


VIVERONI,  F.,  is  mentioned  by  Strutt  as  the 
engraver  of  some  views  in  Ireland  of  little  merit. 

VIVIANI,  Antonio,  called  Codaooea,  was 
brought  up  in  the  Academy  at  Rome,  and  flourished 
about  the  year  1650.  He  excelled  in  painting 
architectural  ruins,  and  perspectives  of  his  own 
composition.  He  has  been  confounded  with  Ottavio 
Viviani  of  Brescia,  who  painted  similar  subjects, 
but  in  a  very  inferior  style.  Domenico  Gargiuoli 
of  Naples,  Cerquozzi,  and  Miel  put  in  his  figures. 

VIVIANI,  Antonio,  called  II  Sobdo  d'Urbino, 
from  his  deafness,  was  a  native  of  Urbino.  He 
was  a  favourite  scholar  of  Federigo  Barocci,  whose 
nephew  he  is  said  to  have  been.  He  left  some 
pictures  at  Urbino,  in  the  style  of  Barocci,  various 
frescoes  in  Rome,  and  a  vast  work  in  the  Chiesa 
De'  Filippini,  at  Fano,  consisting  of  scenes  from 
the  lives  of  those  apostles  to  whom  the  church  was 
dedicated. 

VIVIANI,  Ottavio,  a  painter  of  architectural 
perspectives,  was  born  at  Brescia,  and  flourished 
about  the  middle  of  the  17th  century.  He  was  a 
pupil  of  Tommaso  Sandrino,  and  is  frequently 
confounded  with  the  abler  An.  Viviani  (Codagora). 

VIVIEN,  Joseph,  a  French  painter,  was  born  at 
Lyons  in  1657.  He  went  to  Paris  in  1677,  studied 
under  Charles  Le  Brun,  and,  for  a  time,  painted 
portraits  in  oil  with  considerable  success.  But  he 
afterwards  adopted  pastel,  which  he  carried  to  a 
perfection  unknown  before  him.  His  countrymen 
called  him  'the  French  Van  Dyck'  ;  and  his  popu- 
larity was  great  all  over  Europe.  He  occasionally 
illustrated  his  portraits  with  historical  or  em- 
blematical subjects,  characteristic  of  his  sitter.  In 
1701  he  was  received  into  the  Academy,  and  was 
afterwards  on  its  council.  He  passed  the  latter 
part  of  his  life  in  the  service  of  the  Elector  of 
Bavaria,  for  whom  he  painted  some  of  his  best 
pictures.  His  own  portrait,  by  himself,  hangs 
among  those  of  distinguished  arti.sts  in  theFlorentine 
Gallery.  He  died  in  the  Electoral  Palace  at  Bonn 
in  1735.  His  portraits  of  Feu^lon  and  of  himself 
are  in  the  Munich  Gallery. 

VIVIER,  G.  (GniLLAUMK  ?)  du  or  de,  probably 
a  native  of  Lie,t;e,  was  an  engraver,  and  flourished 
about  the  middle  of  the  17th  century.  He  is 
often  confounded  with  Jean  Duvivier.  He  is  said 
to  have  engraved  vignettes  for  books,  and  little 
devotional  leaflets.  Duniesni!  gives  the  follow- 
ing eight  plates  by  him,  to  which  Nagler  adds  a 
'  Fa9ade  of  S.  Germain  en  Laye.' 

Christ  in  the  Sepulchre  ;  after  Ant.  van  den  Heuvel. 
The  Four  Evangelists,  in  one  piece. 


PAINTERS  AND   ENGRAVERS. 


Temptation  of  St.  Anthony  ;  after  Ant.  van  den  Heuvel. 

Thetis,  Chiron,  and  the  infant  Achilles. 

A  Flemish  Kitchen  ;  after  Ant.  van  den  Heuvel. 

The  Flageolet  Player. 

The  Tippler ;  in  the  manner  of  Rembrandt. 

A  Winter  Landscape  outside  a  fortified  city 

A  younger  engraver  of  the  same  name,  probably 
a  son,  worked  at  Liege  about  1700,  and  has  also 
been  confounded  with  Jean  Duvivier. 
VIVIER,  IGNAZ  DD.     See  Do  Vivier. 
VIVIER,  Jean  Bernabd  en.     See  Ddvivier. 

VIZETELLY,  Frank.  This  clever  draughts- 
man was  a  brother  of  Henry  Vizetelly,  and  was 
bom  in  1830.  Amongst  his  school-fellows  were 
Gustave  Dor6  and  Blanchard  Jerrold.  He  was 
editor  of  an  illustrated  magazine  in  Paris  for  some 
years,  but  in  1859  became  a  war  correspondent  to 
the  'Illustrated  London  News,'  and  executed  an 
enormous  number  of  sketches  for  that  paper.  He 
was  present  during  Garibaldi's  expedition  in  Italy, 
at  the  civil  wars  in  Spain  and  America,  and 
eventually  in  Egypt,  and  is  believed  to  have 
perished  when  the  army  of  Hicks  Pasha  was 
massacred  in  the  Soudan  in  1883. 

VIZETELLY,  Henry.  This  artist  came  of  an 
Italian  family  who  had  emigrated  from  their  own 
country  in  the  seventeenth  century.  He  was  born 
in  London  on  July  30,  18-20,  and  apprenticed  to  a 
wood  engraver,  first  of  all  to  Bonner,  and  then  to 
J.  0.  Smith.  As  a  young  man  he  was  associated 
with  the  'Illustrated  London  News'  from  its  earliest 
start,  and  produced  a  large  number  of  engravings 
for  that  paper.  For  some  few  years  he  engaged 
in  illustrated  journalism  on  his  own  account,  and 
with  one  or  two  companions,  having  to  do  with 
the  '  Pictorial  Times '  and  the  '  Illustrated 
Times,'  but  in  1865  he  returned  to  the  service  of 
the  paper  with  which  he  had  been  first  connected, 
the  '  Illustrated  London  News,'  visiting  many 
parts  of  Europe  as  special  correspondent  for  that 
journal.  He  was  in  Paris  during  the  siege,  and 
very  frequently  at  Vienna  and  Berlin.  Becoming 
dissatisfied,  however,  with  the  position  he  held 
upon  the  'Illustrated  London  News,'  he  set  up  as 
a  publisher  for  himself,  with  the  special  intention 
of  producing  translations  from  all  the  French  and 
Russian  novelists,  and  issuing  unexpurgated  edi- 
tions of  the  old  dramatists.  He  got  into  some 
trouble  in  connection  with  his  issue  of  the  works 
of  Zola,  as  he  insisted  upon  the  translations  being 
literal,  and  he  was  confined  in  prison  for  three 
months  as  a  first-class  misdemeanant.  Through- 
out his  life  he  was  on  terms  of  very  close  friend- 
ship with  Zola,  and  had  the  greatest  admiration 
for  his  work.  He  published  his  own  autobiography 
in  1893,  and  in  it  flaunted  his  absolute  disregard  for 
public  opinion,  or  for  the  regulations  which  bind 
society.  As  a  wood  engraver  his  work  is  dis- 
tinctly important,  and  perhaps  the  best  example 
of  it  is  to  be  found  in  the  illustrations  after  Birkett 
Foster  for  an  edition  of  Longfellow's  '  Evangeline.' 
His  influence  upon  the  illustrated  papers  of  the 
day  was  a  very  marked  one.  He  died  near  Fare- 
ham  in  1894,  in  the  seventy- fourth  year  of  his  age. 

VL.     See  Val,  Sebastiano  De. 

VLAMINCK.     See  De  Vlamynck. 

VLERICK,  PlETEK,  was  born  at  Courtray  in 
1539.  He  was  the  son  of  a  lawyer,  who,  perceiving 
his  inclination  for  art,  placed  him  undtr  Willem 
SneUaert,  a  painter  in  distemper,  with  whom  he 
remained  only  a  short  time.  The  reputation  of 
Karel  van  Yperen  then  induced  him  to  become 


that  master's  disciple.  The  morose  and  capricious 
disposition  of  Karel  drove  Vlerick,  two  years 
later,  into  the  studio  of  Jacques  Floris,  at  Antwerp. 
He  afterwards  went  to  Paris,  where  he  met  with 
such  encouragement  that  he  was  enabled  to  proceed 
to  Venice,  where  he  entered  the  school  of  Tintoretto. 
After  four  years  at  Venice,  he  proceeded  to  Rome, 
where  he  studied  from  the  antique,  and  from  the 
works  of  Michelangelo.  He  worked  in  conjunction 
with  Qirolamo  Muziano,  supplying  figures  to  the 
landscapes  of  that  painter.  He  also  drew  land- 
scapes and  ruins  %vith  the  pen.  In  1668  he  returned 
to  Flanders,  and  established  himself  at  Tournay, 
where  he  spent  the  rest  of  his  life.  He  died  at 
Tournay  in  1581.  Van  Mander,  who  was  his 
disciple,  gives  a  list  of  his  works. 

VLEUQHELS,  Nicholas,  was  born  at  Valenci- 
ennes in  1669,  and  studied  first  under  his  father, 
Philippe  Vleughels,  then  under  P.  Mignard,  and 
afterwards,  while  still  quite  young,  in  Rome,  where 
he  spent  twelve  years.  After  a  visit  to  Venice,  he 
settled  down  in  Paris,  where  he  became  a  member 
of  the  Academy.  In  1724  he  was  appointed  presi- 
dent of  the  French  Academy  in  Rome,  where  he 
died  in  1737.  He  is  stated  to  have  been  a  skilful 
plagiarist  rather  than  an  original  artist.  A  '  Holy 
Family,'  and  a  '  Visitation,'  by  him  are  in  the 
Hermitage  at  St.  Petersburg.  The  Toulouse 
Museum  has  a  '  Vulcan  giving  Venus  arms  for 
jEneas,'  by  him,  and  the  Valenciennes  Museum 
two  companion  pictures,  '  Le  Lever,'  and  '  La 
Toilette.' 

VLEUQHELS,  Philippe,  a  Flemish  painter,  born 
at  Antwerp  in  1619.  He  was  a  pupil  of  C.  Schut, 
and  also  profited  by  the  relationship  of  his  mother, 
Catherine  Geerts,  to  Rubens,  to  spend  much  time 
in  the  great  artist's  atelier.  In  1641  he  journeyed 
to  England,  to  place  himself  under  the  protection 
of  Van  Dyck,  whom,  however,  he  found  dead  on 
his  arrival.  He  then  settled  in  Paris,  where  he 
was  made  a  member  of  the  Academy  in  1663.  He 
died  in  1694. 

VLEYS,  Nicholas,  an  inferior  Flemish  painter, 
who  flourished  at  Bruges  towards  the  end  of  the 
17th  century,  and  died  in  1703.  There  are  pictures 
by  him  in  some  of  the  churches  of  his  native  city. 

VLIEGER.     See  De  Vlieoeb. 

VLIEGHER,  Serafy.     See  De  Vlieoher. 

VLIET.     See  Van  der  Vhet. 

VOEIRIOT.     See  Woeiriot. 

VOENIUS.     See  Veen. 

VOERST,  Corn,  van  der,  (Voobt).    See  Van 

DER  VOORT. 

VOERST,  RoRERT  van,  draughtsman  and  en- 
graver, was  bom  at  Arnheim  about  1600.  His 
style  of  engraving  resembles  that  of  Gilles  Sadeler, 
his  plates  being  executed  with  the  burin  in  a  clear, 
neat  manner.  He  visited  England  when  young, 
and  engraved  a  considerable  number  of  English  por- 
traits, the  latest  bearing  date  1635.  Van  der  Doort 
expressly  calls  him  the  king's  engraver  in  his 
famous  Catalogue.  For  Charles  I.  he  executed 
two  plates,  one  of  his  Majesty's  sister,  the  other 
after  Van  Dyck's  picture  of  the  Emperor  Otho. 
He  died  in  1669.  'The  following  portraits  by  him 
may  be  named : 

Charles  I.  and  his  Queen  ;  one  plate ;  after  Van  Dyck. 

Sir  Kenelm  Digby  ;  after  the  same. 

Inigo  Jones ;  after  the  same. 

Christian,  Duke  of  Brunswick ;  after  the  same. 

Sir  George  Carew ;  after  the  same. 

Philip,  Earl  of  Pembroke ;  after  the  same. 

317 


A   BIOGRAPHICAL   DICTIONARY   OF 


Ernst,  Count  Mansfeld  ;  after  the  same. 

Simon  Vouet,  Painter  ;  after  the  same. 

His  own  Portrait ;  after  the  same. 

Prince  Rupert. 

James  Stewart,  Duke  of  Lennox ;  after  Geo.  Geldorp. 

Robert,  Earl  of  Lindsay ;  after  Mierevelt. 

Edward,  Lord  Lyttleton. 

James,  Marquis  of  Hamilton. 

Henry  Kith,  Earl  of  Holland. 

William  Fielding,  Earl  of  Denbigh. 

Elizabeth,  Queen  of  Bohemia ;  after  G.  Van  Honthorst. 

He  also  engraved  a  few  plates  of  animals  for  the 
drawing-book  of  Crispin  van  de  Pass. 

VOET,  Alexander,  a  Flemish  engraver,  was 
born  at  Antwerp  in  1613,  and,  from  his  style,  is 
supposed  to  have  been  a  pupil  of  Paul  Pontius. 
His  liandling  of  the  graver  is  neat,  but  his  draw- 
ing incorrect.  He  worked  chiefly  after  Rubens. 
Among  others,  we  have  the  following  prints  by  him : 

Judith  with  the  Head  of  Holofernes  ;  after  Rubens. 
The  Holy  Family  returning  from  Egypt;  after  the  samt. 
Virgin  and  Child,  with  Angels  presenting  Fruit ;  after 

the  same. 
The  Martyrdom  of  St.  Andrew ;  after  the  same. 
Death  of  Seneca ;  after  the  same. 
The  Koman  Daughter  ;  after  the  same. 
The  Entombment  of  Christ ;  after  Van  Dyck. 
Christ  bearing  the  Cross  ;  after  the  same. 
Folly,  holding  a  Cat ;  after  Jordaens. 
The  Caril-players  ;  after  De  Vos. 
Laud.scape ;  after  Fuaquieres. 

VOET,  Ferdinand,  a  Flemish  painter  of  the  17th 
century,  who  settled  at  Rome,  where  he  worked 
from  1640  to  1691,  and  was  appointed  painter  to 
the  Pontifical  court. 

VOET,  Karel  Burohart,  was  born  at  ZwoUe 
in  1670,  and  was  first  taught  by  his  elder  brother, 
the  Burgomaster  of  Zwolle  (who,  though  not  a 
professional  artist,  had  learned  drawing  for  the 
purpose  of  his  studies  in  botany  and  natural  his- 
tory), and  under  hira  became  a  correct  draughtsman 
of  flowers,  plants,  and  insects.  Descamps  asserts 
that  his  talents  recommended  him  to  the  patronage 
of  the  Earl  of  Portland,  whom  he  accompanied  to 
England,  where  he  was  much  emploj'ed  by  that 
nobleman,  as  well  as  by  King  William  III.  He 
subsequently  went  with  the  Earl  to  his  summer 
palace  at  Zorgvliet,  where  he  painted  '  The  Products 
of  the  Twelve  Months,'  with  backgrounds  from 
the  neighbourhood.  At  the  instance  of  King 
William,  he  compiled  a  book  of  drawings  from 
insects.  After  this  he  settled  at  Dordrecht,  where 
he  devoted  himself  to  his  '  Systematic  Classification 
of  Beetles,'  witli  illustrations  from  nature.  He 
died  at  the  Hague  in  1745. 

VOGEL,  Bernhard,  a  German  engraver,  was 
born  at  Nuremberg  in  1683,  and  was  a  pupil  of 
Christoph  Weigel.  He  lived  chiefly  at  Augsburg, 
where  he  engraved  many  portraits,  some  with  the 
graver,  others  in  mezzotint.  He  died  at  Nuremberg 
in  1737.  The  Kupeczky  Gallery  of  Portraits  was 
brought  out  by  him.  The  two  following  are, 
perluips,  his  best  plates  : 

Christoph  Weigel,  Engraver ;  after  Ktipeczhy.     1735. 
Johann  Kupeczky,  Painter.     1737. 

His  son,  Johann  Christoph,  also  practised  mezzo- 
tint engraving,  and  produced  some  plates  after 
Kupeczky. 

VOGEL,  Christian  Leerecht,  was  bom  at 
Dresden  in  1759,  and  having  in  his  twelfth  year 
painted  his  own  portrait  in  pastel,  he  was  placed 
under  Johann  Eleazar  Schenau.  He  was  patron- 
ized by  Count  Solms,  by  whose  direction  he,  in 
1780,  proceeded  to  Wildenfels,  where  he  painted 
318 


many  portraits  and  family  pictures  of  distinction. 
The  portraits  of  his  own  two  children  (now  in  the 
Dresden  Gallery)  procured  him  many  commissions 
for  other  things  of  the  kind.  He  also  painted  two 
altar-pieces,  on  the  subject  of  'Suffer  little  children 
to  come  unto  Me,'  for  the  churches  at  Wildenfels 
and  Liechtenstein.  He  became  a  member  of  the 
Dresden  Academy  in  1800,  and  a  professor  in  1814. 
He  died  at  that  city  in  1816. 

VOGEL,  Johann  Philipp  Albert,  an  engraver 
upon  wood,  was  born  at  Berlin  in  1814,  and  waa 
the  son  of  the  engraver  Johann  Daniel  Vogel.  His 
artistic  career  is  almost  identical  with  that  of 
his  younger  brother,  Karl  Friedrich  Otto  (j.v.). 
He  worked  for  a  short  time  at  Leipsic  for  the 
publisher  Baumgartner,  and  in  1835  returned  and 
settled  in  Berlin,  where  he  became  director  of  the 
wood-engravers'  atelier  at  the  Academy.  He  died 
April  15,  1886. 

VOGEL,  IvARL  Friedrich  Otto,  wood  engraver, 
was  born  at  Berlin  in  1816.  He  was  the  second 
son  of  Johann  Daniel  Vogel,  and  his  career 
was  passed  in  intimate  relations  with  his  elder 
brother,  Johann  Philipp  Albert,  who  is  still  alive  (?). 
As  an  illustrator  of  hooks,  he  worked  under  Baum- 
gartner, at  Leipsic,  in  1834-5,  but  returned  with 
his  brother  to  Berlin,  where  he  died  in  1851,  whila 
engaged  on  a  block  of  'The  Temple  of  Peace,' 
after  Kaulbach,  for  the  title-page  to  Decker's 
Illustrated  Bible.  His  chief  undertakings  were  the 
cuts  for  Baumgiirtner's  '  Shakespeare,'  1838,  and 
for  Kugler's  '  History  of  Frederick  the  Great,' 
1844-61,  after  the  designs  of  Menzel. 

VOGEL,  LUDWIG,  a  Swiss  historical  painter, 
born  in  1788.  He  studied  at  the  Vienna  Academy, 
from  which  he  was  expelled  on  account  of  his 
strictures  on  the  teaching.  In  1810  he  went  to 
Rome,  where  he  worked  under  Overbeck,  and  formed 
a  friendship  with  Cornelius.  His  reputation  was 
won  by  his  pictures  ti  the  Swiss  war  of  independ- 
ence. He  died  at  Zurich  in  1879.  Amongst  his 
best  known  works  are  : 

Return  of  the  Swiss  from  the  Battle  of  Morgarten. 

Wiukelreid's  Fight  with  the  Dragon. 

Putting  the  Stone  on  the  Rigi. 

Tell  before  Gessler. 

The  Fight  of  Adam  Naf  at  Kappal. 

VOGEL  voN  VOGELSTEIN,  Karl  Christian, 
historical  painter,  %vas  horn  at  Wildenfels  in 
Saxony  in  1788.  He  was  a  pupil  of  his  father, 
Christian  Lebrecht  Vogel,  the  court  painter,  and 
was  ennobled  by  the  King  of  Saxony  in  1831.  In 
1804  he  became  a  student  at  the  Dresden  Academy. 
From  1808  to  1812  he  was  in  St.  Petersburg,  where 
he  practised  with  success  as  a  portrait  painter.  In 
1813  he  went  for  seven  years  to  Italy,  where  he 
became  a  Catholic,  and  joined  the  Nazarenes.  In 
1820  he  succeeded  Kiigelgen  as  professor  at  the 
Dresden  Academy.  In  1824  he  was  appointed  court 
painter.  After  visits  to  London  and  Italy  he  retired 
to  Munich,  where  he  died  in  1868.  The  Berlin 
National  Gallery  possesses  a  portrait  of  Ludwig 
Tieck  by  him.  He  also  painted  Pius  VII.,  the 
Kings  of  Saxony  and  Holland,  and  the  sculptor 
Thorwaldsen. 

VOGELAER,  Carel  van,  (or  De  Vogel,)  called 
also  Carlo  di  Fiore  and  Distelbloem,  waa  bom  at 
Maestricht  in  1653.  He  painted  still-life,  chiefly 
flowers  and  fruit.  He  studied  in  his  native  town 
and  in  Italy,  and  also  practised  for  a  time  in  Paris 
and  Lyons.  He  finally  settled  at  Rome,  where  he 
gained  the  friendship  of  Maratta,who  occasionally 


PAINTERS   AND   ENGRAVERS. 


employed  him  to  paint  accessories  in  his  pictures. 
He  died  at  Rome  in  1695.  In  the  Dresden  Gallery 
there  is  a  picture  ascribed  to  Maratta,  in  which  he 
is  said  to  have  painted  the  fruit. 

VOGELS,  WiLLEM,  Belgian  painter;  born  in 
1842 ;  studied  at  Brussels,  and  produced  several 
effective  landscapes  ;  he  was  one  of  the  leaders 
of  the  Belgian  Impressionist  School.  Two  ex- 
amples of  his  work  are  now  to  be  seen  in  the 
Brussels  Museum.  He  died  at  Brussels,  January 
9  1896 
'  V06ELSANCK,  Isaac,  a  Dutch  landscape, 
cattle,  and  decorative  painter,  was  born  at  Amster- 
dam in  1C88.  He  was  a  pupil  of  Huchtenburgh. 
Migrating  to  England  about  1716,  he  practised  in 
London,  in  Ireland,  and  in  Scotland.  He  was  much 
employed  on  accessories  for  portrait  painters.  He 
died  in  London  in  1753. 

VOQHTER,  Heinrich,  a  German  engraver  on 
wood,  was  bom  at  Strasburg  about  1490.  He 
imitated  the  style  of  Albrecht  Dlirer  with  some 
success.  He  executed  the  cuts  for  a  drawing- 
book,  entitled  'A  Book  of  the  extraordinary  and  mar- 
vellous Art,  very  useful  to  all  Painters,  Sculptors, 
Goldsmiths,'  &c.,  printed  at  Strasburg  in  1540. 
Zani,  however,  says  he  died  in  1537.  His  son, 
Heinrich  Voqhter  the  younger,  was  also  a  wood 
engraver.  He  was  born  in  1513,  and  was  at  work 
in  1545. 

VOGT,  Adolf,  landscape  and  animal  painter, 
was  born  at  Liebenstein,  in  Saxe-Meiningen,  in 
1843,  and  was  taken  to  America  when  a  child.  He 
studied  first  in  Philadelphia,  then  (in  1861-5)  at 
Munich,  and  afterwards  at  Zurich  and  in  Paris. 
He  returned  to  America,  and  died  in  1871  at  New 
York.     Among  his  best  pictures  are  : 

Harvest  Scene  in  a  Storm. 

Niagara  in  Summer.    |   Niagara  in  Winter. 

The  returning  Harvest  Wagon.    |   The  Smithy. 

VOILLEMOT,  Andre  Crarles,  French  painter; 
born,  December  13,  1823,  in  Paris;  studied  at  the 
ficole  des  Beaux  Arts,  and  became  a  pupil  of 
Drolling.  In  1867  he  painted  the  decorations  of 
the  Imperial  Pavilion  erected  at  the  Paris  Ex- 
hibition. As  a  portrait  painter  he  was  in  vogue 
during  the  fifties,  and  as  late  as  1879  he  executed 
a  portrait  of  Jeanne  and  Georges  Hugo.  He  ob- 
tained a  second-class  medal  in  1870,  and  the 
Legion  of  Honour  in  the  same  year.  He  died  in 
Paris,  September  5,  1893. 

VOIRIOT,  GuiLLAUMB,  a  French  painter  of  the 
18th  century.  He  became  a  member  of  the  Academy 
in  1759,  his  reception  pictures  being  portraits  of 
Pierre  and  of  Nattier.  He  exhibited  portraits  at 
the  Salon  and  at  the  Academy  of  B.  Luke  from 
1759  to  1791. 

VOIS,  Adr.  de.     See  De  Vois. 

VOISAKD,  Etienne  Claude,  a  French  engraver, 
born  in  Paris  in  1746,  was  a  pupil  of  B.  Baron. 
Together  with  some  plates  after  French  painters, 
he  has  left  a  copy  of  WooUett's  Battle  of  La  Hogue, 
on  a  smaller  scale. 

VOISEUX, ,  a  French  artist  of  whose  life 

no  details  are  known.  Two  pastel  portraits  by 
him,  dated  respectively  1766  and  1767,  are  in  the 
Valenciennes  Museum. 

VOLAIRE,  (or  VoLfeRE,)  Jacques,  painter,  was 
born,  probably  either  at  Toulon  or  Nantes,  about 
1735.  His  father,  a  native  of  Nantes,  worked  at 
Toulon  as  painter  to  the  Arsenal.  Jacques,  who 
appears  to  have  also  held  some  official  post  in  the 


arsenal,  became  acquamted  with  Joseph  Vemet 
when  the  latter  visited  Toulon,  and  attached  him- 
self to  the  master  as  companion  and  assistant, 
going  with  him  to  Bordeaux,  Bayonne,  and 
Rochelle.  In  1763  the  friends  parted  company, 
and  Volaire  settled  in  Rome,  where  his  marines 
in  the  manner  of  Vernet  attracted  considerable 
attention.  Later  on  he  visited  Naples,  and  there 
painted  an  'Eruption  of  Vesuvius,'  of  which  he 
multiplied  replicas.  Volaire  died  at  Naples  early 
in  the  19th  century.  The  following  are  among  his 
best  known  works : 

Two  Sea-pieces.     {Palace  of  CompieyM.) 

Eruption  of  Vesuvius.     {Havre  Museum.) 

Eruption  of  Vesuvius,  with  view  of  Portici.  {Nantei 
Museum.) 

Eruption  of  Vesuvius  by  night.    {Toulouse  Museum.) 

VOLCKER.     See  Volker. 

VOLDERS,  Louis,  painter,  and  a  native  of 
Brussels,  flourished  about  the  middle  of  the  17th 
century.  No  details  of  his  life  are  known,  though 
several  of  his  works  have  survived.  He  is  believed 
to  have  been  a  pupil  of  Grayer,  but  his  portraits 
have  been  frequently  ascribed  to  Coxie.  There 
are  two  pictures  by  him  in  the  Hotel  de  Ville  at 
Louvain,  and  one  in  the  church  of  Notre  Dame  de 
la  Chapelle  at  Brussels. 

VOLfcRE.    See  Volaire. 

VOLIGN  Y,  — ,  is  mentioned  by  Florent  le  Comte 
as  an  engraver,  but  his  talent  lay  in  pen  portraits 
washed  with  Indian  ink.  He  is  probably  identical 
with  VoLiQNY  DE  ToNNERES,  engraver,  who  died  in 
1699. 

VOLK,  JoHANN  Georo  BartholomIus,  was  born 
at  Ochsenfurth  on  the  Maine  in  1747,  and  studied 
first  under  his  father,  and  then  in  the  Augsburg 
Academy,  under  Giinther.  He  painted  portraits, 
landscapes,  and  historical  pictures.  He  died  in 
1815.  His  elder  son,  Ferdinand  VOlk  (1772-;- 
1829),  lived  and  worked  as  a  painter  at  Ratibor  in 
Silesia.  Karl  Volk,  his  second  son,  was  settled 
as  a  painter  in  Hungary. 

VOLKAERT,  Nicolaas  and  Klaasz,  father  and 
son,  painters  of  Haarlem,  flourished  in  the  15th 
century ;  the  elder  about  1450,  the  younger  from 
1480  to  1506.  They  painted  chiefly  in  distemper, 
and  made  designs  for  the  glass  painters.  Their 
name  occurs  occasionally  on  fragments  of  windows 
from  disestablished  convents  and  churches. 

VOLKER,  Friedrich  VVilhelm,  son  of  Gottfried 
W.  Volker,  was  born  at  Berlin  in  1799,  and  died  at 
Thorn,  February  17,  1870.  He  painted  flowers 
and  fruit,  and  was  employed,  like  his  father,  in  the 
porcelain  factory  at  Berlin. 

VOLKER,  Gottfried  Wilhelm,  (or  Volcker,) 
flower  painter,  was  born  at  Berlin  in  1775.  He 
was  a  pupil  of  Johann  Friedrich  Schulze,  a 
flower  painter,  and  succeeded  him  as  superintendent 
of  the  painters  in  the  Royal  Porcelain  Manufactory 
at  Berlin.  In  1811  he  became  a  member  of  the 
Berlin  Academy,  and  died  in  that  city  in  1849. 
Two  '  Vases  of  Fruit  and  Flowers  '  by  him  are  in 
the  Berlin  National  Gallery. 

VOLKER,  Otto,  (orVuLCKER,)  landscape  painter, 
was  born  at  Berlin  about  1810,  and  studied  first 
under  Blechen  and  then  in  Italy.  He  became  a 
member  of  the  Berlin  Academy  in  1845,  and  died 
in  1848. 

VOLKER,  Wilhelm,  was  bom  at  Wertheim  in 
1812,  and  by  the  help  of  the  Princes  of  Lowenstein- 
Wertheim,  was  educated  at  the  Mtmich  Academy. 

319 


A  BIOGRAPHICAL  DICTIONARY  OF 


He  devoted  himself  to  landscape  and  genre  paint- 
ing, and  travelled  for  improvement  in  the  Bavarian 
highlands  and  the  Tyrol.  In  1848  he  painted  a 
room  in  the  palace  of  the  Prussian  ambassador  at 
Munich  with  hunting-scenes,  landscapes,  and 
famous  German  battles.  In  the  following  year  he 
painted  two  altar-pieces  for  the  court  chapel  of  his 
patron  at  Lowenstein,  and  afterwards  two  others, 
together  with  a  '  Nativity,'  at  AschafEenburg.  In 
1851  he  published  an  '  Art  of  Painting'  (Leipsic), 
and  in  1853  became  teacher  in  the  cantonal  school 
of  St.  Gall,  where  he  died  in  1874. 

VOLKHART,  Geoeq  Wilhelm,  a  German  sub- 
ject painter,  was  born  in  1815  at  Herdicke 
(Westphalia).  He  practised  at  Diisseldorf.  His 
subjects  were  frequently  taken  from  the  history  of 
Mary,  Qneen  of  Scots,  and  from  the  wars  between 
England  and  France.  In  his  later  years  he  painted 
many  portraits.  He  died  at  Diisseldorf,  March  14, 
1876. 

VOLLENHOVEN,  Herman  van,  a  Dutch  painter, 
who  flourished  at  Utrecht  in  the  early  part  of  the 
17th  centurv.  It  appears  that  he  was  a  member 
of  the  Guild  at  Utrecht  in  1611,  and  Dean  in 
1627,  and  that  in  1612  Beernt  de  Visscher  was  his 
pupil.  No  furtlirr  details  of  his  life  have  trans- 
pired, and  he  was  long  known  only  through  an 
engraving,  dated  1614,  by  Simon  van  de  Pass,  after 
a  picture  by  him  of  '  Christ  and  the  Disciples  at 
Emmaus.'  But  a  signed  picture  of  his,  dated  1612, 
was  acquired  by  the  Hague  Museum  in  1873.  The 
subject  is  an  artist  (probably  himself)  painting 
the  portraits  of  an  old  man  and  woman  seated 
before  him.  This  picture  is  now  in  the  Rijks 
Museum  at  Amsterdam. 

VOLLER,  Aertgen  de.     See  Ci.aessen. 

VOLLERDT,  Jan  Christian,  or  Christoph,  (or 
Vollaert,)  was  born  at  Leipsic  in  or  about  1709, 
and  was  a  scholar  of  Alexander  Thiele.  He  is 
credited  with  the  execution  of  many  small  land- 
scapes, views  on  the  Rhine  and  in  Switzerland, 
somewhat  in  the  manner  of  Chr.  Geo.  Schtitz,  en- 
livened with  figures  and  animals,  many  of  which 
were  imported  into  England  early  in  the  present 
century.  He  died  in  1769.  Some  of  his  pictures 
have  been  engraved.  Tliere  is  a  Rhine  landscape 
by  him  in  the  Bordeaux  Museum. 

VOLLERT.     See  Vollerdt. 

VOLLEVENS,  Johannes,  was  bom  at  Geertrui- 
denberg  in  1649.  He  was  a  sclioLir  first  of  Nicolas 
Maas,  and  afterwards  of  Jan  de  Baan,  with  whom 
he  remained  eight  years.  From  1672  onwards  he 
worked  independently,  and  after  the  death  of  Da 
Baan  (1702),  he  succeeded  to  the  greater  part  of 
his  practice,  and  became  one  of  the  most  popular 
artists  of  his  time.  The  Prince  of  Courland  and 
the  Prince  of  Nassau,  Stadtholder  of  Friesland, 
were  among  his  particular  patrons.  He  died  at  the 
Hague  in  1728.  The  Rijks  Museum,  Amsterdam, 
has  two  portraits  by  him,  one  of  them  being  that 
of  William  III.  His  son,  Johannes  Vollevens, 
was  also  a  good  portraitist.  He  was  bom  at  the 
Hague  in  1685,  was  appointed  court  painter  to  the 
Princess  Dowager  of  Orange,  and  was  dean  of  the 
painters'  guild  at  the  Hague  in  1748.  It  is  sup- 
posed he  was  a  short  time  in  England.  He  died 
at  tlie  Hague  in  1758. 

VOLLMER,  Adolph  Friedrich,  painter  and 
etcher,  was  born  at  Hamburg  in  1806.  He  travelled 
through  Germany  with  the  cosraorama  painter 
Suhr,  studying  subsequently  under  Rosenberg  at 
Altona,   and   under    Eckersberg  at    Copenhagen. 

320 


From  1833  to  1839  he  was  at  work  at  Munich,  and 
travelling  in  the  Tyrol  and  Italy.  He  lost  his  sight 
in  1866,  and  in  1875  died  at  Hamburg.  He  painted 
harbours  and  other  sea- views,  also  views  in  Venice 
and  on  the  Elbe.  He  has  left  some  thirty  etchings 
and  lithographs. 

VOLLON,  Antoine,  French  painter  ;  born  April 
23,  1833,  at  Lyons,  and  studied  at  the  Art  School 
of  that  city.  He  was  also  a  pupil  of  Ribot's.  He 
first  exhibited  at  the  Salon  in  1864,  and  achieved 
success  as  a  painter  of  landscapes  and  of  portraits, 
while  his  arrangements  of  flowers  and  fruit  were 
always  noteworthy.  His  'Coin  de  Halle'  is  'n  the 
Luxembourg,  and  ranks  as  a  masterpiece.  His 
'Portrait  d'un  Pecheur'  (1868)  and  'Ai)res  le  Bal' 
(1869)  both  gained  medals,  and  at  the  Exhibition 
of  1878  he  received  a  first-class  medal.  He  has 
been  described  as  the  Chardin  of  his  time,  which 
may  mean  that  he  possessed  the  full  equipment  of 
the  artist  who  excels.  He  died  in  Paris,  August 
'27,  1900. 

VOLLWEIDER,  August  Johann  Jacob,  German 
painter  ;  born  in  1835  at  Eichstetten,  Baden ; 
studied  with  Eisenlohr  and  Schirmer  at  Carlsruhe, 
and  also  at  Munich  previous  to  travelling  in 
Belgium,  Switzerland  and  France.  After  residence 
in  Paris  he  accepted  a  post  as  art  teacher  at 
Carlsruhe  and  subsequently  at  Berne.  He  pub- 
lished a  'Manual  of  Perspective  '  which  had  merit, 
and  some  lithographed  landscape  studies.  There 
was  a  touch  of  monotony,  probably  from  the 
sameness  of  subject,  in  all  his  landscapes.  He 
died  at  Fieiburg  in  Broisgau,  November  5,  1891. 

VOLMAR,  Johann  Georg,  was  born  at  Mengen, 
in  Swabia.in  1770,  but  withdrew  to  Switzerland  to 
escape  the  conscription,  and  took  to  landscape 
painting  at  Lausanne.  He  studied  entirely  from 
nature,  without  the  help  of  a  master.  After  a 
journey  tu  Italy,  he  became  professor  in  the  School 
of  Art  at  Berne,  where  he  died  in  1831.  One  of  his 
largest  works  was  '  The  Parting  of  Nicolas  von  der 
Flue  from  his  Family,'  which  was  engraved  by 
Lips.  His  brother,  Xaver  Volmar,  etched  some 
of  his  works.  Xaver's  son,  JosErn  Volmar,  (bom 
1795,  died  1865  at  Berne,)  was  a  sculptor  as  well 
as  a  landscape  and  animal  painter,  with  particular 
skill  in  painting  horses. 

VOLMARYN,  Henry,  born  at  Utrecht,  moved 
to  Rotterdam.  Died  October  1637.  Painter,  and 
picture  and  print-seller.  W.  H.  J.  W. 

VOLMARYN,  Quirin,  son  of  Henry  ;  married, 
February  6,  1628,  a  widow,  Catherine  Hollaer  of 
Delftshaven  ;  died  August  1G45.  Had  two  sons 
who  were  painters,  Peter  and  John. 
Dordtwyck.  3f.  van  Re-  \  The  Disciples  at  Emmans. 
pelen.       j      1631  (siyned).     W.  H.  J.  W, 

VOLPATI,  Giovanni  BATTiSTA,bom  at  Bassano 
in  1633,  was  an  indifferent  painter,  and  the  author 
of  some  treatises  on  the  fine  arts.  The  most  iinport- 
ant  of  these  is  'La  Veritd  Pittoresca.'  He  died  in 
1706. 

VOLPATO,  Giovanni,  draushtsman  and  _  en- 
graver, was  born  at  Bassano  in  1783.  He  received 
his  first  training  from  his  mother,  an  embroiderer, 
and  then  studied  under  the  engraver  Remondinl 
While  still  young,  however,  he  went  to  Venice, 
where  he  received  some  instruction  from  Wagner 
and  Bartolozzi,  and  engraved  several  plates  after 
Piazzetta,  Mariotto,  Amiconi,  Zuccarelli,  M.  Ricci, 
and  others.  He  worked  some  time  for  tbe  Duke  of 
Parma,  until  a  plate  from  the  Monument  of  Algarotti 


PAINTERS  AND  ENGRAVERS. 


at  Pisa  brought  him  into  wider  notice.  He  afterwards 
visited  Rome,  where  Gavin  Hamilton  employed 
him  to  engrave  several  plates  for  his  '  Sohola  Italica 
Pioturae' ;  and  he  was  the  principal  artist  employed 
on  the  well-known  set  of  coloured  prints  from  the 
works  of  Raphael  in  the  Vatican.  In  Rome  he 
founded  a  School  of  Engraving,  in  which  several 
excellent  artists  received  their  education.  He  died 
in  Rome  in  1803.  In  signing  some  of  his  earlier 
works  he  Gallicized  his  name  into  Renard.  Vol- 
pato  was  one  of  the  many  Italians  of  the  18th 
century  whose  merits  were  greatly  overrated.  Like 
that  of  his  son-in-law  and  pupil,  Rafaello  Morghen, 
his  fame  depended  chiefly  on  the  dearth  of  really 
ahle  men  in  Italy  in  his  time.  Among  his  best 
plates  are  the  following : 

PLATES   ENGRAVED    FOR   GAVIN   HAMILTON. 

The  four  Sibyls ;  after  Raphael. 

The  Marriage  of  Alexander  and  Boxana  ;  after  the  same. 

Modesty  and  Vaaity  ;  after  Leonardo  da  Vinci  (?). 

Perseus  and  Andromeda ;  after  Polidoro  da  Caravaggio. 

Christ  praying  on  the  Mount ;  after  Correyyio. 

The  Feast  in  the  house  of  Simou  ;  after  Paolo  Veronese. 

The  Marriage  of  Oana;  after  Tintoretto. 

The  Gamesters  ;  after  Michelangelo  da  Caravaggio. 

SUBJECTS   AFTER   GAVIN    HAMILTON. 


The  Death  of  Lucretia. 

Juno. 

Melancholy. 


Innocence. 

Hebe. 

Gaiety. 


COLODRED   PRINTS    AFTER   RAPHAEL. 

The  School  of  Athens. 
The  Dispute  of  the  Sacrament. 
HeliodoruB  driven  from  the  Temple  of  Jerusalem. 
Attila  stopped  by  SS.  Peter  and  Paul. 
St.  Peter  delivered  from  Prison. 
The  Parnassus. 
The  Fire  in  the  Borgo. 

The  Mass  of  Bolseua.  This  plate  was  actually  engraved 
by  Rafaello  Morghen. 

VOLPE,  Vincent,  painter,  practised  at  the 
English  court  from  1514  to  1530,  and  amongst 
other  works  is  said  to  have  painted  the  banners  for 
the  famous  vessel,  '  The  Great  Harry. ' 

VOLPELIlfcRE,  Mile.  L.  P.  Jdlie,  a  native  of 
Marseilles,  and  pupil  of  S^rangeli,  practised  in 
Paris  in  the  first  part  of  the  19th  century,  gaining 
a  medal  of  the  second  class  in  1810,  and  exhibited 
portraits,  sacred  subjects,  etc.,  at  the  Salon  from 
1808  to  1839.  She  died  in  Paris  in  1842.  She 
painted  a  '  S.  Martin '  for  the  church  at  Perpignan, 
and  in  the  Versailles  Museum  there  is  a  portrait  of 
Colonel  Jean  Baptiste  Jourdain  by  her. 

VOLPONI,  Giovanni  Battista  di  Pietro  di 
Stefano,  a  painter  of  Pistoja,  who  flourished  at  the 
beginning  of  the  16th  century,  and  painted  in  con- 
junction with  II  Sollazzino,  and  with  Bernardino  del 
Signoraccio  for  various  churches  of  his  native  city. 

VOLTERRA,  Daniele  da.     See  Ricciarelli. 

VOLTERRA,  Francesco  da,  who  resided  much 
at  Pisa,  is  known,  from  the  records  of  the  Campo 
Santo,  to  have  painted  the  '  History  of  Job'  on  its 
south  wall.  This  fresco  is  in  six  compartments, 
and  was  painted  between  1370  and  1372.  Like 
the  rest  of  the  earlier  pictures  in  the  Campo  Santo, 
it  is  now  almost  obliterated,  but  some  idea  of  its 
weird  realism  may  still  be  formed  from  Lasinio's 
|Pitture  del  Campo  Santo,'  and  other  reproductions 
in  Italian  books  on  art.  Francesco  da  Volterra  is 
supposed  to  have  been  identical  with  Francesco  di 
Maestro  Giotto,  a  painter  of  Florence,  whose 
name  occurs  in  the  records  of  the  city  Guild  for 
1341. 

VOL.  V.  Y 


VOLTERRA,  Giov.  Paolo  Rossetti  da.  See 
Rorsetti. 

VOLTERRANO,  II.     See  Franceschini,  B. 

VOLTZ,  Friedrich  Johann,  German  painter ; 
born  at  Nordlingen,  October  31,  1817  ;  was  a  son 
and  pupil  of  Johann  Michael  Voltz,  the  genre 
painter  ;  studied  at  the  Munich  Academy,  and 
from  nature  in  the  Bavarian  Alps ;  pastoral  sub- 
jects were  those  that  he  preferred,  such  as  'Herds- 
man and  Cows  '  (in  the  Leipzisj  Museum).  He 
was  appointed  professor  at  the  Munich  Academy, 
and  this  post  he  held  until  his  death  on  June  25, 
1886. 

VOLTZ,  Johann  Michael,  painter  and  engraver, 
was  born  at  Nordlingen  in  1784.  In  1801  he  was 
apprenticed  to  F.  Weber  of  Augsburg,  and  four' 
j'ears  later  entered  the  academy  of  H.  von  Herz- 
berg,  with  whom  he  studied  etching  and  engraving. 
He  returned  to  Nordlingen  in  1812  ;  in  1819  he 
travelled  in  the  highlands  of  Baden,  and  found 
materials  for  many  costume  and  genre  pictures 
in  sepia.  He  died  at  his  birthplace  in  1858.  He 
worked  largely  as  an  illustrator,  furnishing  the 
plates  for  editions  of  the  '  Arabian  Nights,'  and  of 
many  German  classics.  Of  his  pictures  we  may 
name  : 

Berlin.  R'at.  Gallery.  A  Menagerie. 

„  „  Cows  drinking. 

Breslau.  Museum.  A  Village  ;  morning. 

„  „  Watering  the  Cattle. 

VOLZ,  WiLHELM,  German  painter;  born  De- 
cember 8,  1855,  at  Carlsruhe ;  became  a  pupil  of 
Ferdinand  Keller,  and  afterwards  studied  with 
Lefebvre  in  Paris  ;  settled  at  Munich,  where  he 
made  his  reputation  ;  painted  reli.L;:ious  subjects, 
such  as  'The  Entombment,'  'A  Madonna,  &o. 
His  'Santa  Cecilia'  is  in  the  Kunsthalle  at 
Carlsruhe.     He  died  at  Munich,  July  7,  1001. 

VONCK,  Elias,  (or  Vonk,)  was  a  Dutch  artist 
of  talent,  who  painted  birds,  animals,  and  still- 
life,  in  the  manner  of  Hondecoeter  and  Snyders. 
He  died  at  Amsterdam  in  June,  1652.  Jan  Vonck, 
probably  his  son  and  pupil,  painted  the  same 
subjects.  He  flourished  at  Amsterdam  about  1660. 
In  the  R.  Museum  of  that  city  there  is  a  study 
of  dead  birds  by  him,  and  in  the  Dresden  Gallery 
there  is  a  landscape  by  Jacob  Ruysdael  (No.  1803) 
with  animals  beautifully  painted  by  Vonck.  It  is 
signed  with  Ruysdael's  monogram,  and  with  J. 
Vonck  fe.  There  seems  to  have  been  a  third  VoNCK, 
who  resided  at  Middelburg  about  1750  ;  he  painted 
birds  and  still-life  subjects  in  the  manner  of  Aart 
Schouman. 

VON  DER  EMBDB,  August,  was  born  at 
Cassel  in  1780.  He  studied  painting  at  Cassel, 
Dresden,  Diisseldorf,  Munich,  and  Vienna ;  and 
established  himself  at  Cassel,  where  he  painted 
portraits,  scenes  of  peasant  life,  and  children.  He 
also  copied  the  old  masters  in  sepia.  Many  of  his 
genre  subjects  have  been  engraved.  He  died  in 
1862  at  Cassel.  His  two  daughters,  Karoline  and 
Emilib,  were  also  painters. 

VON    DER    SCHLICHTEN.      See    Van    der 

SCHLICHTEN. 

VON  HOLST.     See  Holst. 

VONWYL,  Jakob,  (or  Von  Wtl,)  was  born  at 
Lucerne  in  1695.  He  painted  in  the  style  of  Hol- 
bein. Many  of  his  better  works  were  burnt  at  the 
destruction  of  the  abbey  church  at  Lucerne,  but 
his  very  remarkable  '  Dance  of  Death '  is  still  to 
be  seen  in  the  Library  of  the  Canton.  He  died 
in  1621. 

321 


A  BIOGRAPHICAL  DICTIONARY  OF 


VOOGD,  Hendrik,  a  landscape  painter,  was  born 
at  Amsterdam  about  1764-7,  and  studied  first  at  tlie 
school  of  design  there,  and  afterwards  under 
Juriaan  Andriessen.  He  was  furnished  by  a  friend 
with  the  means  to  visit  Italy,  whence  he  sent  ti. 
the  Soci^t^  des  Sciences,  at  Haarlem,  a  landscape 
which  obtained  for  him  a  pension  of  fifty  ducats 
per  annum  for  three  years.  Thus  encouraged,  he 
continued  his  studies  with  assiduity  till  he  was 
acknowledged  to  be  the  best  landscape  painter  in 
Rome,  and  designated  'the  Dutch  Claude.'  At 
intervals  he  sent  pictures  to  the  exhibitions  at 
Amsterdam,  chiefly  landscapes  with  cattle.  He 
died  at  Rome  in  1839.  He  executed  some  land- 
scape etchings,  and  made  several  drawings  after 
Claude  for  the  use  of  the  engraver  Volpato. 

VOORDECKER,  Henri,  painter,  born  at  Brus- 
sels in  1779,  was  a  pupil  of  J.  B.  de  Roy,  and 
painted  landscapes,  animals,  and  simple  domestic 
subjects.  His  '  Village  and  Chapel  of  Waterloo,' 
'  Children  playing  with  Poultry  and  Pigeons,'  may 
be  named,  also  a  'Huntsman's  Family,'  in  the 
Amsterdam  Museum.  He  died  at  Brussels  in 
1861. 

VOORIIOUT,  Johannes,  was  born  at  Uithoorn, 
near  Amsterdam,  in  1647.  He  was  the  son  of  a 
•watchmaker,  who  placed  him  under  Constantinb 
"VERBonT  of  Gouda,  a  painter  of  conversations  and 
gallant  assemblies,  with  whom  he  passed  six  years. 
After  this  he  became  a  pupil  of  Jan  van  Noordt, 
under  whom  he  studied  five  years.  In  1672,  when 
the  French  army  entered  Holland,  Voorhout  took 
refuge  at  Friedrichstadt,  and  from  thence  removed 
to  Hamburg.  After  an  absence  of  three  years,  the 
desire  of  revisiting  his  native  country  induced  him 
to  return  to  Amsterdam,  where  his  success  was  no 
less  prompt  than  it  had  been  at  Hamburg.  He 
painted  the  principal  citizens,  and  received  com- 
missions for  several  historical  subjects,  among 
them  a  'Death  of  Sophoiiisba.'  Voorhout  died  in 
1720.  Two  conversation  pieces  by  him  are  in  the 
Stockholm  Gallery,  and  a  'Luna  and  Endymion,' 
'  Venus  upon  the  Clouds,'  and  '  Birth  of  Samson,' 
in  the  Brunswick  Museum.  He  had  a  son  or 
brother,  Jan  VooRHoar,  who  died  in  1749,  and  left 
a  picture  of  'The  Good  Samaritan,'  now  in  the 
Brunswick  Museum. 

VOORST,  Dirk   van.     Utrecht.     Portrait  of  a 
priest  vested,  lying  dead  with  a  chalice  in  his 
hands,    1651     {signed).     Utrecht ;     archiepiscopal 
museum. 
Wurzburg.     University.     Two  portraits  {signed). 

W.  H.  J.  W. 

VOORT,   (VooRSE,   or  Voors).     See   Van  der 

VOORT. 

VOORT,  M.  Van  der.     See  Van  der  Voort. 

VORMACIA.     See  Woensam. 

VORSTERMAN,  Lucas,  the  elder,  (or  Voster- 
Man,)  engraver,  was  born  at  Antwerp  in  1578, 
and  at  iirst  studied  painting  in  the  school  of 
Rubens.  He  was  afterwards  advised,  however,  by 
his  preceptor,  to  devote  himself  entirely  to  engrav- 
ing. Few  painters  have  had  the  satisfaction  of  see- 
ing 60  great  a  number  of  their  best  works  finely 
engraved  as  Rubens.  He  was  surrounded  by  artists 
of  ability,  who  worked  immediately  under  his  eye, 
and  had  the  advantage  of  his  advice.  Of  these 
Lucas  Vorsterman  was  one.  His  plates  are  executed 
entirely  with  the  graver,  which  he  handled  with 
great  facility,  though  he  was  always  more  attentive 
to  the  general  effect  than  to  the  neatness  and 
regularity  of  the  execution.     His  plates  after  the 

322 


'Adoration  of  the  Magi,'  and  the  'Descent  from, 
the  Cross,'  by  Rubens,  are  regarded  as  master- 
pieces of  engraving.  He  visited  England  in  the 
reign  of  Charles  I.,  and  lived  here  about  eight  years, 
from  162.^  or  1624  to  1631,  being  employed  by  the 
king  and  the  Earl  of  Arundel.  He  died  later  than 
1656.  Vorsterman  usually  signed  his  plates  with 
his  name,  but  he  sometimes  used  a  cipher  com- 
posed of  an  L.   and   a    V.  joined   together  thus, 

V^*    The  following  are  among  the  best  of  his 

very  numerous  plates : 

Charles  I.,  King  of  England  ;  after  Van  Dyck. 

Thomas  Howard,  Earl  of  Arundel.     Do. 

Isabella  Clara  Eugenia,  Infanta  of  Spain.    Do. 

Gaston,  Duke  of  Orleans.     Do, 

Arabrosio  Spiuola,  Governor  of  the  Low  Countries.     Do 

Wolfgang  Wilhelm,  Duke  of  Bavaria.    Do. 

Anthony  van  Dyck,  Painter.    Do, 

Peter  de  Jode,  the  elder,  Engraver.     Do. 

Karel  van  Mallery,  Engraver.     Do. 

Jacques  Callot,  Engraver.    Do. 

Theodoor  Galle,  Engraver.    Do. 

Wenzel  Koeberger,  Painter.    Do. 

Deodato  Del  Monte,  Painter.     Do. 

Lucas  van  Udeu,  Painter.      Do, 

Cornelis  Saftleven,  Painter.    Do. 

Orazio  Gentileschi,  Painter.    Do, 

Jau  Lieveus,  Painter  and  Engraver.    Do, 

William  Cavendish. 

Thomas  Howard,  Duke  of  Norfolk  ;  after  Holbein. 

Sir  Thomas  More  ;  after  the  same. 

Erasmus ;  after  the  same. 

The  Emperor  Charles  V. ;  after  Titian, 

Charles,  Duke  of  Bourbon  ;  after  the  same. 

Charles  de  Longueval,  Count  of  Busquoi ;  after  Rul ens. 

The  Fall  of  the  Kebel  Angels ;  after  hiibens. 

Lot  and  his  Daughters  leaving  Sodom.     Do, 

Job  tempted  and  tormented  by  Demons.     Do. 

Susanna  and  the  Elders.     Do. 

The  Nativity,  or  Adoration  of  the  Shepherds.    Do. 

The  Adoration  of  the  Magi.     Do. 

The  same  subject,  differently  composed.     Do, 

The  Holy  Family,  with  St.  Anne.     Do. 

Another  H^ly  Family,  in  which  the  Infant  Christ  is 
embracing  the  Virgin.     Do. 

The  Eeturn  from  Egypt.    Do. 

The  Virgin  and  Infant  Christ,  and  St.  John.     Do. 

The  Tribute-Money.     Do, 

The  Descent  from  the  Cross.     Do. 

The  Angel  at  the  Sepulchre.    Do. 

St.  Francis  receiving  the  Stigmata. 

The  Martyrdom  of  St.  Laurence. 

JIary  Magdalene  renouncing  the  Vanities  of  the  World. 

The  Battle  of  the  Amazons  ;  a  large  print  on  six  sheets. 

The  Holy  Family  ;  after  Raphael, 

The  Entombment  of  Christ ;  after  the  same. 

St.  George  ;  after  the  same. 

Christ  praying  in  the  Garden  ;  after  An,  Carracci, 

Lot  and  his  Daughters  ;  after  Orazio  Gentileschi, 

The  Virgin  and  Child,  with  Pilgrims  ;  after  Caratiaggio. 

A  Pieti  ;  after  Van  Dyck, 

St.  Theresa  ;  after  the  same. 

Christ  at  the  Pillar  ;  after  G.  Zeghers. 

The  Death  of  St.  Francis  ;  after  the  same. 

St.  Ignatius  ;  after  the  same. 

The  Fable  of  the  Satyr,  with  the  Peasant  who  blows 
hot  and  cold  ;  after  J,  Joriiaens. 

A  Concert  of  five  persons,  one  of  whom  is  a  Girl  playii.g 
on  the  Guitar;  after  Adam  de  Coster,  being  a  Com- 
panion to  the  Concert  engraved  by  Bolswert,  after 
Theodoor  Rombouts. 

VORSTERMAN,  Lucas,  the  younger,  was  the 
son  of  the  elder  artist  of  the  name,  and  was  born 
at  Antwerp  about  the  year  1600.  Although  he 
had  the  advantage  of  his  father's  instruction,  his 
plates  are  inferior  in  every  respect  to  his.  The 
following  are  considered  the  best: 

A  Bear-Hunt ;  after  F,  Snyders. 

Lucas  Vorsterman  the  elder  ;  after  Van  Dyck. 


PAINTERS   AND   ENGRAVERS. 


Sir  Hugh  Cartwright ;  after  DiepenleecU. 

The  Trinity;  after  Rubens. 

Part  of  the  Whitehall  ceiling ;  after  the  same. 

The  Virgin  in  the  Clouds,  surrounded  by  Angels  ;  after 
Van  Dyck. 

The  Triumph  of  Riches  ;  after  Holiein. 

The  greater  part  of  the  Plates  for  the  Duke  of  New- 
castle's book  on  Horsemanship ;  after  designs  by 
Diepenbeeck, 

Several  Plates  in  the  Teniers  Gallery. 

VORSTERMANS,  Johannes,  (or  Vosterman,) 
was  born  at  Bomiuel  in  1643.  He  was  the  son  and 
pupil  of  a  portrait  painter,  but  afterwards  studied 
at  Utrecht,  under  Herman  Saftleven.  He  visited 
Paris,  assumed  the  title  of '  Baron,'  and,  for  a  short 
time,  kept  up  the  establishment  of  a  man  of  rank. 
His  necessities,  however,  obliged  him  to  return  to 
Holland,  and,  in  1672,  on  the  approach  of  the  French 
army,  he  moved  from  Utrecht  to  Nimeguen,  where 
his  talents  became  known  to  the  Marquis  of  Bethune, 
for  whom  he  painted  several  landscapes  and  views 
on  the  Rhine,  and  by  whom  he  was  employed  to 
collect  works  of  art.  Soon  after  the  Restoration 
he  came  to  England,  and  painted  a  view  of  Windsor, 
and  some  other  works  for  the  king,  but,  demanding 
extravagant  prices  for  his  pictures,  he  did  not 
receive  many  commissions,  was  arrested  for  debt, 
and  only  released  through  the  generosity  of  some 
brother  artists.  When  Sir  William  Soames  was  sent 
on  an  embassy  to  Constantinople  by  James  II., 
Vorstermans  proposed  to  accompany  him,  but  Sir 
William  dying  en  route,  the  painter  accepted  an 
invitation  to  go  to  Poland  with  the  Marquis  of 
Bethune,  and  there,  it  is  believed,  he  died  in  1699. 
There  is  a  small  landscape  by  him  in  the  Dresden 
Gallery. 

VORTEL,  Wilhelm,  painter,  was  born  at 
Leipsic  in  1793,  and  learnt  glass-painting  from 
the  elder  Mohn.  Interrupted  in  his  studies  by  a 
term  of  military  service  on  which  he  entered  in 
1813,  he  resumed  them  on  his  release,  acquired 
the  elements  of  landscape  painting  in  Dresden, 
and  in  1817  accompanied  the  younger  Mohn 
to  Vienna,  and  was  engaged  in  painting  windows 
at  Laxenburg.  On  his  return  to  Dresden  he  was 
commissioned  by  the  brothers  Boisser^e  to  repro- 
duce upon  glass  various  works  after  the  early 
German  and  Flemish  masters,  Meister  Wilhelm, 
Jan  van  Eyck,  Memling,  and  Van  der  Goes.  Vortel 
further  painted  upon  glass  Raphael's  Madonna  di 
San  Sisto,  and  Murillo's  Madonna  in  the  Leuchten- 
berg  Gallery,  and  executed  windows  for  castles  and 
private  chapels  in  Hanover,  Meiningen,  etc.  He 
died  at  Dresden  in  1844. 

VOS.     See  De  Vos. 

VQSCHER,  Leopold  Heinrich,  landscape 
painter,  was  born  at  Vienna  in  1830.  He  was  a 
pupil  of  the  landscape  painter  Hansch,  and  sought 
subjects  for  his  art  in  Switzerland,  Italy,  and  the 
romantic  mountain  districts  of  his  own  country. 
In  1864  he  settled  in  Munich,  where  he  practised 
successfully  for  some  years.  He  excelled  in  the 
treatment  of  aerial  perspective  and  effects  of  light 
and  shade.     He  died  insane  in  1877,  at  Vienna. 

VOSMEER,  (or  Vosmaer).  See  Wouters, 
Jakob. 

VOSTERMAN.  See  Vorsterman  and  Vorster- 
mans. 

VOSTRE,  Simon,  the  famous  French  printer  and 
publisher  of  '  Livres  d'Heures,'  who  flourished 
about  1488 — 1520,  is  supposed  by  some  authorities 
to  have  been  the  designer  and  engraver,  as  well  as 
the  publisher,  of  his  illustrations.     These  consisted 

T  2 


of  prints  in  the  manikre  cribUe  (dotted  white),  and 
are  generally  considered  to  be  impressions  from 
wood,  though  certain  experts  hold  that  they  were 
engraved  from  metal.  For  a  full  discussion  of  the 
technical  points  involved,  see  Willshire's  'Intro- 
duction to  Ancient  Prints,'  vol.  i.,  London,  1877, 
and  Renouvier,  '  Des  Gravures  sur  Bois  dans  les 
Livres  de  Simon  Vostre,'  Paris,  1862. 

VOUET,  Adbin,  brother  and  pupil  of  Simon, 
born  in  Paris  in  1599,  was  a  mediocre  artist,  who, 
after  studying  with  his  brother  in  Italy,  practised 
in  Paris,  chiefly  as  a  decorative  painter.  He  died 
in  Paris,  May  1,  1641.  Examples  of  his  work  are 
in  the  Lyons  and  Nantes  Museums.  A  younger 
brother,  Claude,  was  also  a  pupil  of  Simon  at  Rome, 
and  returned  with  him  to  Paris.  No  further  par- 
ticulars concerning  him  are  known. 

VOUET,  Jacques,  the  son  and  pupil  of  Simon, 
was  painter  to  the  viaitrise,  was  received  by  the 
Academy  in  1664,  and  was  employed  on  decor- 
ative work  in  the  Tuileries,  in  conjunction  with 
Mosnier,  Comeille  the  younger,  and  Bonnemor. 
No  further  details  concerning  liim  have  survived. 

VOUET,  Simon,  a  French  historical  painter,  born 
in  Paris  in  1590.  His  father,  an  obscure  artist 
named  Laurent  Vouet,  was  his  first  teacher. 
Under  this  tuition  he  made  considerable  progress, 
for  at  the  age  of  fourteen  he  paid  a  visit  to  England, 
j>ractising  as  a  portrait  painter.  In  1611  he  ac- 
companied the  French  Ambassador  to  Constanti- 
nople, where  he  distinguished  himself  by  painting 
from  memory  a  portrait  of  the  Sultan,  whom  he  had 
seen  but  once.  Towards  the  close  of  the  following 
year  he  made  his  way  to  Venice,  and  devoted  him- 
self to  copying  the  works  of  the  great  Venetian 
colourists.  Settling  at  Rome  in  1613,  his  studies 
were  influenced  successively  by  Caravaggio  and 
by  Guido.  He  rapidly  acquired  a  reputation,  so 
that  in  1620  he  was  summoned  to  Genoa  on  a  com- 
mission to  decorate  the  palace  of  the  Doria  family. 
On  his  return  to  Rome  he  was  fortunate  enough 
to  find  patrons  in  Pope  Urban  VIII.  and  the 
powerful  Barberini  entourage.  Thus  patronized, 
he  secured  a  position  in  the  front  rank  of  the  Roman 
art-world,  and  in  1624  was  elected  Prince  of  the 
Academy  of  St.  Luke.  About  this  time  he  married. 
His  wife,  Virginia  di  Vezzo  Vellatbano,  was,  like 
himself,  an  artist.  In  1627  he  was  summoned  to 
France  by  Louis  XIII.  to  occupy  a  position  even 
more  prominent  than  that  which  he  had  filled  at 
Rome.  He  was  appointed  principal  painter  to  the 
king,  was  assigned  apartments  in  the  Louvre,  and 
was  granted  an  ample  pension.  The  royal  com- 
missions came  thickly  upon  him.  He  was  engaged 
in  the  palaces  of  the  Luxembourg,  the  Louvre,  and 
St.  Germain,  and  by  Richelieu  at  the  ChS,teau  de 
Rueil.  So  great  a  favourite  was  he  with  Louis 
XIII.  that  the  king  became  his  art-pupil.  The 
royal  favour  brought  that  of  the  nobility  in  its 
train,  and  so  supreme  did  Vouet  become,  that  when 
Nicolas  Poussin  visited  France  in  1640,  he  found 
himself  unable  to  cope  with  the  rival  influence — 
not  always  fairly  exercised,  it  was  said.  Vouet's 
first  wife  died  in  1638,  and  two  years  later  he 
retnarried,  Le  Sueur  being  one  of  the  witnesses  of 
the  ceremony.  The  closing  years  of  his  life  were 
clouded  by  much  physical  suffering,  and  he  died 
in  Paris  in  1649.  Vouet's  merits  are  most  apparent 
in  the  works  of  his  Italian  period.  His  art  was 
marred  by  success.  The  multitude  of  his  com- 
missions led  to  mannerism,  and  to  those  constant 
repetitions  with  which  the  eye  is  wearied.     Over 

323 


A   BIOGRAPHICAL  DICTIONARY  OF 


the  French  school  he  exercised  a  despotic  influence 
in  his  time,  similar  to  that  subsequently  wielded 
by  Le  Brun  and  David.  Most  of  the  artists  of  the 
succeeding  generation  passed  tlirough  his  studio, 
amongst  them  Le  Sueur,  Le  Brun,  P.  Mignard, 
J.  B.  Mola,  and  Dufresnoy.  There  is  an  etching 
by  him,  a  '  Holy  Family,'  dated  1633.  _  The  follow- 
ing is  a  list  of  Vouet's  pictures  in  the  chief 
European  collections: 


Avignon. 

Museum. 

Mater  Dolorosa. 

Dresden. 

Gallery. 

St.  Louis. 

Florence. 

UJlzi. 

The  Annunciation. 
Portrait  of  himself. 

Hampton  Court'. 

Diana. 

Lyons. 

Museum. 

The  Cruci6xion. 

Marseilles. 

„ 

The  Virgin  and  Child. 

MontpelUer. 

J, 

Prudence. 

Munich. 

Pinakotkek. 

Virgin  and  Child. 

Paris. 

Louvre. 

The  Presentation.     1&41. 

>» 

»» 

The  Holy  Family. 
The  Crucifixion. 

n 

yy 

Tlie  Eutumbmeut. 

ti 

)» 

Roman  charity. 

%t 

)» 

Portrait  of  Louis  XIII. 

it 

>) 

Allegory  of  Kiches. 
Faith. 

Petersburg. 

Hermitaye. 

Virgin  and  Child  (two  pictures) 

It 

ty 

Venus  and  Adonis. 

n 

If 

Death  of  Lucretia. 

Rouen. 

Museum. 

Apotheosis  of  St.  Louis. 

1* 

»» 

Ananias  and  Sapphira. 

Tours. 

»> 

Portrait  of  himself. 

Valenciennes.          „ 

St.  Stephen. 

VOUILLEMONT,  Sebastien,  a  French  engraver, 
was  born  at  Bar-sur-Aube,  about  1610.  He  was 
a  pupil  of  Daniel  Kabel,  and  afterwards  went  to 
Rome,  where  he  studied  under  Cornelis  Bloemart. 
He  engraved  after  the  Italian  masters,  as  well  as 
after  his  own  designs  and  those  of  Rabel,  his 
master.  He  has  left  one  hundred  and  forty-five 
plates.     The  following  are  among  the  best: 

The  Murder  of  tlje  Innocents  ;  after  Raphael.     1641. 

Christ  with  the  Disciples  at  Emmaus ;  after  the  same. 

Mount  Parnassus  ;  ajier  the  same. 

The  Holy  Family  ;  after  tlie  same. 

The  Virgin  and  Infant  Christ ;  after  Farmigiano. 

The  Marriage  of  St.  Catherine  ;  after  Albani. 

A  young  Man  presenting  Money  to  a  Fortune-teller. 

VOULLEMIER,  Mlle.  Anne  Nicole,  a  French 
artist,  born  at  Cliatillon-sur-Seine  in  1796,  was  a 
pupil  of  Regnault  and  of  Aubry.  She  gained 
medals  of  the  third  and  second  class,  and  exhibited 
a  large  number  of  miniatures  at  the  Salon  between 
1819  and  1850.     She  died  in  1886. 

VOUW.     See  De  Vouw. 

VOYEZ,  Nicholas  Joseph,  was  bornat  Abbeville 
in  1742.  He  went  to  Paris  when  very  young, 
and  became  a  pupil  of  Beauvarlet,  his  fellow- 
citizen.  He  engraved  vignettes  for  Marmontel's 
'Contes'  and  for  'L'Indigent,'  a  drama  of  Mer- 
cier's  ;  also  a  series  of  '  Tetes  d'Expression  '  after 
Le  Brun,  which  he  afterwards  transformed  into  a 
set  of  'Figures  R^publicaines.'  Among  his  plates 
we  may  name  the  following : 

Louis  XVI. ;  engraved  in  1785. 

Marie  Antoinette,  Queen  of  France. 

Marie  Adelaide  Clotilde  Xaviere,  of  France. 

Prince  Henry  of  Prussia. 

Tiie  Sister  of  Charity  ;  after  Eisen. 

Funeral  of  St.  Gregory  ;  after  J'an  Loo. 

Angelica  and  Medoro  ;  after  Blanchard. 

The  Astrologer  ;  after  G.  Dou. 

An  old  Man  in  meditation  ;  after  the  same. 

His  brother  Francois  Votez,  also  an- engraver, 
324 


was  born  in  1746.  He,  too,  was  a  pupil  of  Beau- 
varlet, and  engraved  after  Greuze,  Touz6,  Bon  de 
BouUongne,  and  others.  Several  plates  signed 
Voyez  only  are  ascribed  to  Nicholas. 

VOYS  (Vois).     See  De  Vois. 

VRAC,  Lb.     See  ToDRNifeRES,  Robert. 

VRANCX  (or  Vkanck).     See  Francken,  Seb. 

VREE  (or  Vreem).     See  De  Vree. 

VRELANT,  William,  an  excellent  miniaturist, 
son  of  James  van  Vredeland,  born  at  Utrecht, 
bought  the  right  of  citizenship  at  Bruges  on 
April  30,  1456,  and  was  one  of  the  first  members 
of  the  guild  of  booksellers,  miniaturists,  and  allied 
crafts.  He  adorned  many  manuscripts  with  minia- 
tures for  Philip,  Duke  of  Burgundy.  The  Royal 
Library  at  Brussels  possesses  the  second  volume 
of  'Les  Ystoires  des  nobles  princes  de  Haynnau,' 
which  contains  60  miniatures  by  his  hand,  for 
which  he  was  paid  in  1462  the  sura  of  £72.  The 
Royal  Library  at  Madrid,  the  Dutuit  Collection 
in  Paris,  and  the  Library  at  Siena  also  possess 
manuscripts  with  miniatures  executed  by  him. 
He  and  his  wife  are  represented  kneeling  in  the 
foreground  of  Memlinc's  altar-piece  of  the  '  Passion 
of  Christ,'  at  Turin,  which  they  gave  in  1478  to 
the  guild,  who  sold  it  in  1624.  Vrelant  died  on 
June  5,  1481.  W.  H.J.  W. 

VRIENDT,  Aelbert  de,  Flemish  painter,  bom 
in  Ghent  in  1843;  became  a  pupil  of  his  father, 
Jan  de  Vriendt,  and  also  studied  with  Van  Leyge 
at  Antwerp.  After  travel  in  Italy,  Spain,  France, 
and  the  East,  he  settled  at  Antwerp,  and  eventu- 
ally became  the  Director  of  the  Art  Academy 
there.  His  archaic  methods  were  shown  in  various 
works  illustrating  episodes  in  Flemish  history, 
such  as  '  Charles  V.  at  San  Yuste,'  '  Jacobea  of 
Bavaria,'  &o.  The  Christuskirche  at  Antwerp 
possesses  an  example  of  his  work  ;  and  in  the 
Bruges  Municipal  buildings  there  is  some  which 
is  unfinished.  He  died  at  Antwerp,  October  14, 
1900. 

VRIES.     See  De  Vries. 

VROLIJK,  Jacob  Adriaen,  Dutch  painter,  and 
brother  of  Jan  Maerten  ;  born  at  the  Hague, 
March  9,  1834  ;  became  a  pupil  of  Schelfliout,  and 
for  some  while  he  copied  works  by  this  artist  and 
also  by  Verweer,  Weissenbruch  and  others.  An 
original  painting  by  him  is  in  the  Hague  Museum. 
He  died  at  the  Hague,  March  20, 1862. 

VROLIJK,  Jan  Maerten,  Dutch  painter ;  bom 
at  the  Hague,  February  1,  1845;  became  a  pupil 
of  Stortenbeker  ;  successful  as  a  painter  of  land- 
scape with  cattle,  such  as  his  '  Sonimer  Morgen ' 
and  'Auf  dem  Wege.'  He  also  painted  one  or 
two  pictures  in  water-colour,  exhibited  at  Dresden 
and  Munich.  He  died  at  the  Hague,  October 
1894. 

VROMANS,  Nicolaas,  was  bom  in  Holland 
about  1660.  He  was  called  'The  Snake  Painter,' 
from  his  partiality  for  painting  serpents  and  other 
reptiles.  He  also  painted  all  sorts  of  wild  plants, 
briars,  and  creepers,  among  which  he  placed  toads, 
frogs,  mice,  moths,  worms,  spiders  in  their  webs, 
birds'  nests,  and  other  objects.  His  pictures  are 
rare  in  England.     He  died  about  1719. 

VROOM,  Hendrik  Cornelisz,  was  born  at  Haar- 
lem in  1566.  He  was  the  son  of  a  sculptor  and 
potter,  who  died  when  he  was  still  very  young, 
and  his  mother  having  afterwards  married  Cornelis 
Henricksen,  a  painter  on  china,  he  was  by^  him 
taught  the  rudiments  of  design.  He  at  first  painted 
views  of  towns,  and  resided  some  time  at  Rotter- 


PAINTERS   AND   ENGRAVERS. 


dam.  He  afterwards  visited  Spain  and  Italy,  and 
during  a  stay  of  two  years  at  Rome,  was  employed 
by  the  Cardinal  de'  Medici,  and  became  acquainted 
with  Paul  Bril,  whose  advice  and  assistance  were 
of  great  service  to  him.  On  leaving  Rome  he  visited 
Milan,  Genoa,  Turin,  Venice,  and  Paris,  and  then 
returned  to  Haarlem.  There  he  painted  many 
small  devotional  subjects,  which  be  purposed 
to  dispose  of  in  Spain,  and  with  that  intention 
embarked  a  second  time  for  Seville.  Being  ship- 
wrecked, however,  on  the  coast  of  Portugal,  be 
lived  there  for  a  time  and  painted  sea-pieces.  On 
his  return  to  Holland  he  applied  himself  entirely 
to  that  branch  of  painting.  About  this  time  Lord 
Nottiiigljam  ordered  the  famous  suit  of  tapestries, 
representing  the  defeat  of  the  Spanish  Armada,  of 
Frans  Spiering,  who  employed  Vroom  to  make  the 
designs.  This  necessitated  a  visit  to  England,  during 
which  Isaac  Oliver  painted  his  portrait.  Vroom 
returned  to  Haarlem,  where  he  died  in  1640.  The 
tapestries  from  his  design  were  burnt  in  1834,  with 
the  Houses  of  Parliament.  They  are  engraved  in 
a  work  by  John  Pine,  published  in  1739.     Works: 

Amsterdam.     Museum.      Admiral  Heemskerk  sinking  the 
Spanish  Galleons.     1617. 
„  „  Keturn  of   the  vessel  in  which 

Houtman     made     his     first 
voyage  to  India. 
„  „  View  of  Amsterdam  and  the  Y. 

Augsburg.  Gallery.     Battle  on  the  Haarlemmer  Meer. 

„  „  Harbour  of  Amsterdam. 

„  „         Taking  of  Damietta. 

Haarlem.  Museum.     Arrival  of  the  Earl  of  Leicester 

at  Flushing,  in  1586. 

He  left  two  sons,  of  whom  Cornelis,  who  died  in 
1661.  was  a  landscape  painter,  and  Frederik,  who 
died  in  1667,  an  historical  painter  and  architect. 

VROOMANS.     See  Vromans. 

VTENBROECK.     See  Uijtenbrodck. 

VUCHT,  John  van,  son  of  Govert,  was  born  at 
Rotterdam  in  1603;  married  AnneGerrils  in  1624; 
removed  to  the  Hague  in  1632,  and  died  there  at 
the  end  of  June  1637.  His  pictures  represent  in- 
teriors, the  figures  in  which  are  generally  by 
Anthony  Palamedes,  of  Delft.  A.  de  Lorme  was 
one  of  his  pupils. 

Bremen.  Gallery.     Interior  (signed). 

Metz.  Museum.     Interior  of  a  church. 

Schwerin.  Muse^um.     Interiorof  aRenascencechurch, 

with  groups  of  figures. 

W.  H.  J.  W. 

VUECHTLIN.     See  Wechtlin. 

VUEZ,  Arnould  de,  (Wuez,  d'Huez,  DnEZ,)  an 
historical  painter,  was  bi.rn  at  Hautpont,  near  St. 
Omer,  in  1642.  He  was  apprenticed  to  a  painter 
at  St.  Omer,  and  afterwards  entered  the  school  of 
the  Franciscan,  Brother  Lucas,  in  Paris.  Three 
years  later  he  proceeded  to  Venice  and  Rome. 
There  he  won  the  first  prize  at  the  Academy,  and 
copied  Raphael's  'School  of  Athens.'  He  was 
afterwards  invited  by  Le  Brun  to  assist  him  at 
Paris  and  Versailles.  Having  killed  an  officer  in  a 
duel,  he  fled  to  Constantinople,  but  under  the  pro- 
tection of  Lou  vols  he  ventured  back  to  Lille,  to  paint 
in  the  Hospital  chapel.  He  died  at  Lille  in  1719 
or  1720.  His  works  used  to  be  numerous  in  the 
religious  establishments  at  Lille,  Cambrai,  and 
Douay.  A  great  many  have  now  been  gathered 
into  the  Lille  Museum.  They  are  rich  in  com- 
position, full  of  architecture,  but  bad  in  colour. 

VUIBERT,  Kemi,  (or  Wibert,)  a  French  painter 
and  engraver,  was  Ijorn  (in  Paris  or  Troyes)  about 
1607,  and  is  supposed  to  have  been  a  scholar  of 


Simon  Vouet.  He  probably  worked  from  1639 
to  1643  in  Paris,  and  then  resided  for  a  consider- 
able time  at  Rome,  and  died  there.  He  was  on 
intimate  terms  of  friendship  with  N.  Poussin,  who 
speaks  of  him  in  his  correspondence  with  M. 
de  Chanteloup.  His  works  as  a  painter  are  little 
known,  but  he  etched  twenty-nine  plates  after 
Italian  painters  (including  eighteen  after  Raphael), 
as  well  as  some  from  his  own  designs.  The  dates 
on  them  range  from  1635  to  1663.  We  may  name 
the  following : 

Adam  receiving  the  forbidden  Fruit  from  Eve;  after 

Raphael. 
The  Judgment  of  Solomon  ;  after  ike  same. 
Apollo  and  Marsyas  ;  after  the  same. 
The  Descent  from  the  Cross  ;  after  N.  Poussin. 
The  Cure  of  one  possessed  of  a  Devil ;  from  his  own 

design. 
St.  Andrew  ;  after  the  statue  hy  Duquesnoy.     1629. 

VULPE,  Fra  Garriele  de,  was  living  at  Palermo 
in  the  16th  century,  and  is  the  author  of  a  paint- 
ing of  the  '  Virgin  and  Child,  with  Angels,  and 
SS.  Peter,  John  Baptist,  Roch,  and  Sebastian,  and 
a  donor,'  which  is  now  in  the  vestibule  to  the 
sacristy  of  San  Domenico,  Palermo ;  it  is  dated 
1535. 

VUORMACE.     See  Woensam. 

VYL,  (ViJL).     See  Den  Uyl. 

VYOLL.     See  Fyoll. 

VYTENBROECK.     See  Uijtenbrodck. 

VYTH,  Johann  Martin,  (or  Vbyth).  See 
Veith. 


w. 

WAAGEN,  Friedrich  Lddwio  Heinrich,  was 
horn  at  Gottingen  in  the  middle  of  the  18th  century, 
ivas  a  student  under  Ferdinand  Kobell,  and,  in  1780, 
went  for  a  term  to  Rome.  He  afterwards  practised 
in  Hamburg,  where  he  started  an  academy  for 
Irawing  and  painting.  His  works  consisted  of 
portraits,  historical  subjects,  and  landscapes,  in 
the  style  of  Poussin. 

WAAGEN,  Karl,  probably  a  son  of  Friedrich 
L.  H.  Waagen,  was  born  at  Hamburg  about  1800. 
He  studied  at  Dresden  and  Prague,  and  then 
settled  at  Breslau  as  a  miniature-portrait  painter 
and  picture  restorer.  After  a  visit  to  Italy,  where 
he  paiuted  landscapes,  he  became  a  lithographer 
for  a  time,  but  finally  returned  to  portrait  painting. 
He  died  in  1873. 

WAAL.     See  De  Wael. 

WAARD.     See  De  Waard. 

WAAS,  Aart  van,  (or  Waes,)  was  a  native  of 
Gouda,  and  scholar  of  W  outer  Crabeth.  After 
a  tour  in  Italy,  he  returned  to  Gouda,  where  he 
painted  genre  pictures,  and  died  in  1646,  accord- 
ing to  Balkema  ;  in  1650,  says  Immerzeel.  This  is 
all  we  know  of  his  life;  but  in  Hazard's  catalogue 
of  prints  nine  grotesque  subjects  are  attributed  to 
him  both  as  painter  and  engraver.  One  of  these 
represents  a  painter,  disgusted  with  his  art,  "  qui 
fait  ses  ordures  sur  la  palette  et  les  pinceaux." 
At  the  bottom  of  the  print  is  inscribed  "  Om  dat 
ick  door  de  konst,  <feo.  1645." 

WABBE,  Jakob,  painter,  flourished  at  Hoom 
in  the  early  part  of  the  17th  century,  and  is  known 
by  various  portraits  and  historical  works,  among 
the  most  important  of  which  were  four  scenes  from 
the  life  of  Joseph,  for  the  hospital  at  Hoorn. 

325 


A   BIOGRAPHICAL  DICTIONARY  OF 


WACn,  Karl  Wilhelm,  a  German  historical 
■and  portrait  painter,  born  at  Berlin  in  1787.  He 
waa  a  pupil  of  Kretechmar,  but  his  studies  were 
interrupted  by  the  war  of  independence  in  1813, 
in  which  he  took  part  as  an  officer  of  landwehr. 
At  the  peace,  he  spent  some  time  in  Paris,  studying 
under  David  and  Gros,  and  in  1817  went  to  Italy, 
where  he  joined  the  neo-Gernian  group.  On 
settling  in  Berlin  in  1819,  Wacli  opened  an  atelier, 
and  acquired  great  vogue  as  a  teacher.  He  had 
also  a  large  practice  as  a  portrait  painter,  and 
devoted  much  attention  to  the  chemistry  of  colours 
and  varnishes.  He  became  a  member  and  pro- 
fessor of  the  Berlin  Academy.  He  died  in  Berlin, 
November  25,  1845.  There  are  by  him  : 
Berlin.  Nat.  Gall,     Male  Portrait. 

„  „  The  Madonna. 

„  „         Psyche  surprised  by  Oupid. 

„      Garrison  Church.     The  Crucifixion. 

„  Schloss.     S.  John  in  Patmos. 

„  Werder^sche  Kirch e.    Faith,  Hope,  and  Charity. 

„         Raczynski  Coll.     Christ  and  His  Disciples 

„  „  The  Madonna. 

„  „  Portrait  of  Cornelius. 

„  „  Countess  Raczynsld. 

Moscow.  Ch.  ofSS.  Peter  \  ™        ,  ,t„.Dieces 
and  Paul.     )  ^^°  Altar-pieces. 

WACHSMUTH,  Ferdinand,  painter  and  etcher, 
was  born  at  Miihlhausen  in  1802.  He  studied  in 
Paris  under  Gros,  and  then  travelled  in  Algeria  in 
quest  of  subjects  for  genre  pictures.  He  was  pro- 
fessor at  the  school  of  St.  Cyr,  and  obtained  a 
second-class  medal  in  1833.  He  died  in  1869.  He 
engraved  after  Wouwerraan  '  A  Halt  of  Huntsmen.' 
The  Museums  of  Amiens,  Avignon,  and  Ver- 
sailles possess  examples  of  his  work,  in  history, 
genre,  and  portraiture. 

WACHSMUTH,  Hieronymds,  was  a  German 
engraver  of  the  18th  century,  who  resided  chiefly 
at  Vienna.  He  engraved,  among  other  plates, 
the  'Elements'  and  the  'Seasons,' from  his  own 
designs,  and  seems  to  have  been  a  humble  imitator 
of  Bernard  Picart. 

WACHTER,  Eberhard  Georq  Friedrich  von, 
painter,  was  born  at  Balingen  in  Wiirtemburg. 
Feb.  29th,  1762.  He  was  educated  at  the  '  Karl's- 
Schule,'  at  Stuttgart,  where  he  studied  jurispru- 
dence, with  the  iutention  of  devoting  himself  to 
the  law,  but  in  1778  he  abandoned  this  idea,  and 
going  to  Paris,  entered  David's  atelier.  He  there 
became  an  ardent  believer  in  the  classicism  which 
the  French  master  had  brought  into  vogue.  When 
the  events  of  the  Revolution,  however,  drove  him 
away  to  Rome,  he  came  under  the  influence  of 
Carstens,  which,  combined  with  the  example  of  the 
great  Italians,  caused  a  vast  change  in  his  artistic 
predilections.  He  embraced  the  Roman  Catholic 
faith,  and  after  his  return  to  Germany,  his  art  had 
little  in  common  with  that  of  the  French  school. 
He  strove  after  ideality  of  conception,  often  to 
the  loss  of  vigour  in  execution.  He  worked  for 
some  time  in  Vienna,  and  later  in  Stuttgart,  re- 
ceiving many  important  commissions,  and  leaving 
his  mark  upon  the  generation  of  artists  which 
succeeded  him.  He  died,  August  14th,  1852,  at 
Stuttgart.    Pictures : 

Stuttgart.  Gallery.     Job  and  his  Friends. 

»  „  The  Choice  of  Hercules. 

„  „  The  Ship  of  Life. 

WACHTLIN.     See  Wechtlin. 

WADDINGTON,  S ,  an  Englisn  landscape 

painter,  was  born  in  1736  {?).     He  painted  some 
326 


good  landscapes  in  the  style  of  Claude,  but  died  at 
the  age  of  twenty-two,  in  1758. 

WAEQEMAN,  Heinrich,  was  born,  according  to 
Fiissli,  at  Zurich,  in  1536.  He  was  little  known  as 
a  painter,  but  some  of  his  drawings,  in  the  style  of 
Paolo  Farinato,  have  been  preserved. 

WAEL  (Wael).     See  Db  Wael. 

WAELSCH,  Ja3.     See  Barbarj. 

WAERD  (Waard).     See  De  Waard. 

WAES.     See  Waas. 

WAESBERGE,  Izaak,  was  a  Dutch  engraver, 
who  flourished  from  about  1650  till  1660.  We 
have  by  bim  several  portraits,  engraved  in  a  style 
resembling  that  of  Cornelis  Visscher  ;  among  them 
that  of  Admiral  de  Ruyter,  after  H.  Berckmans. 

WAGEMAN,  Thomas  Charles,  an  English  por- 
trait painter,  was  born  in  1787.  He  had  a  large 
practice  in  theatrical  portraits,  and  exhibited  at 
the  Academy  and  in  Suffolk  Street,  from  1816  to 
1857.     He  died  in  1863.     There  are  by  him  : 


London.  5.  Kensinyton. 


Portrait  of  T.  Stothard. 
Fawcett  as  Autolycus.    1828. 


WAGENBAUER,  Maximilian  Joseph,  land- 
scape and  animal  painter,  was  born  at  Grafing, 
near  Munich,  in  1774.  He  was  a  pupil  of  the 
elder  Dorner,  and  served  in  the  Napoleonic  wars. 
King  Max  I.  created    him  court  painter,  and,  in 

1815,  director  of  the  gallery.  His  death  occurred 
at  Munich,  May  12,  1829.     Works : 

BerUn.  Nat.  Gall.     Mountain  Tarn  in  Bavaria. 

„  „  Cattle  at  Pasture. 

Monicb.    N.  Pinakothek.     Landscape,  with  a  young  Ox. 

„  „  Evening        Landscape,       with 

Figures  and  Cattle. 

„  „  Morning       Landscape,       with 

Figures  and  Cattle. 

„  „  Landscape,  with  Setting  Sun. 

„  „  Landscape,  with  a  Cow. 

„  „  Scene  near  Marquardstein. 

WAGGONER, .    In  Painters'  Hall,  London, 

there  is  a  picture  of  the  '  Great  Fire,'  by  a  painter 
of  this  name.  The  Society  of  Antiquaries  pos- 
sesses another,  which  is  engraved  in  Pennant's 
'  London.' 

WAGNER,  Albert,  was   born  at  Stuttgart  in 

1816.  He  studied  at  the  Stuttgart  school  of  art, 
and  afterwards  at  Munich.  He  painted  mountain 
landscapes,  and  has  also  left  some  lithographic 
views.     He  died  at  Stuttgart  in  1867. 

WAGNER,  Edmund,  son  and  pupil  of  the  en- 
graver Friedrich  Wagner,  was  born  at  Nuremburg 
in  1830.  He  attended  the  Academy  at  Antwerp  for 
some  considerable  time,  and  visited  England,  after 
which  he  returned  with  his  father  to  Munich.  He 
was  a  successful  painter  of  do;,'8  and  game.  He 
lost  his  life  near  Munich  in  1859,  through  the 
accidental  discharge  of  his  gun. 

WAGNER,  Friedrich,  engraver,  was  bom  at 
Nuremburg,  May  24,  1803.  After  a  thorough 
grounding  in  the  technicalities  of  his  art  under 
Reindel,  at  Nuremburg,  he  completed  his  education 
in  Paris,  and  returning  to  Germany,  found  employ- 
ment on  such  works  as  small  engravings  for  pocket- 
books.  In  1833  he  was  commissioned  by  the 
Albrecht  Diirer  Society  to  engrave  Guido  Reni's 
'  S.  John  in  the  Desert.'  Other  undertakings  were 
plates  in  illustration  of  Nuremburg  sculpture  in 
the  Middle  Ages,  and  of  Swabian  monuments  of 
the  Middle  Ages,  and  the  Atlas  of  Plates  for 
Kugler's '  Kunstgeschichte.'  In  1852  he  settled 
at  Stuttgart,  but   afterwards  moved   to   Munich. 


PAINTERS  AND  ENGRAVERS. 


where  he  died  in  April,  1876.     His  plates  are  very 
numerous  ;  tlie  following  are  perhaps  the  best: 

Leonardo  da  Vinci's  Last  Supper ;  a  copy  after  Marghen. 

Noah  ;  after  Oppenheim, 

Hieronymus  Holzschuher  ;  after  Durer. 

Sakuntala ;  after  Eiedel. 

S.  Sebastian  ;  after  Carlo  Dolei, 

The  Cherry-SeUer ;  after  Kreul. 

The  Banquet  in  honour  of  the  Peace  of  Westphalia ; 

after  Sandrart. 
The  Descent  from  the  Cross  ;  after  Rulens. 
Ecce  Homo  ;  after  Durer. 
Diirer's  Portrait  of  himself. 
The  Madonna  della  Tenda  ;  after  Raphael. 

WAGNER,  Hans.    See  SnESS. 

WAGNER,  Hans  Bkhakd,  was,  according  to 
Professor  Christ,  a  native  of  Strasburg,  and  en- 
graved a  considerable  number  of  copper-plates, 
■which  were  printed  by  Johann  Heyden.  He  flour- 
ished about  1690. 

WAGNER,  Jacob,  was  probably  of  the  same 
family  with  Hans  Erhard  Wagner.  He  is  said  by 
Professor  Christ  to  have  inscribed  his  prints,  J. 
Wa.  fee. 

WAGNER,  Johann  Georg,  son  of  an  indifferent 
painter,  Johann  Jakob  Wagner,  was  born  at 
Meissen  in  1732,  and  was  a  scholar  of  Dietrich, 
who  was  his  uncle.  He  painted  landscapes  with 
pastoral  subjects,  nymphs  battling,  and  other 
Arcadian  relaxations,  the  picturesque  scenery  on 
the  borders  of  the  Meuse,  and  also  maritime  com- 
positions. His  pictures  have  been  frequently  sold 
in  England  as  the  works  of  Dietrich.  He  died 
in  1766.  He  is  sometimes  called  'the  younger,' 
to  distinguish  him  from  another  now  forgotten 
painter  of  the  same  name,  who  flourished  a 
century  earlier. 

WAGNER,  Johann  Martin,  painter  and  sculptor, 
was  born  at  Wiirzburg  in  1777.  His  father,  who  was 
sculptor  to  the  court,  gave  him  his  first  teaching, 
but  in  1797  he  placed  himself  under  Fiiger  at  the 
Vienna  Academy,  where  he  gained  the  first  prize 
in  1802  for  '.iEneas  inquiring  of  Venus  the  road 
to  Carthage.'  In  1803  he  went  to  I'aris,  and  in 
180-t  to  Rome.  During  a  long  stay  iu  the  latter 
city  and  a  tour  in  Greece,  he  acquired  a  profound 
knowledge  of  classic  antiquity.  While  in  Greece, 
he  effected  the  purchase  of  the  jEginetan  marbles, 
now  in  the  Munich  Glyptothek.  He  died  at  Rome 
in  1858. 

WAGNER,  Joseph,  draughtsman  and  engraver, 
was  born  at  Thalendorf,  on  Lake  Constance,  in 
1706.  He  studied  painting  at  Venice  under  Jacopo 
Amigoni,  who  persuaded  him  to  turn  his  thoughts 
to  engraving,  in  which  he  had  Spath  for  his  master. 
He  accompanied  Amigoni  to  Rome  and  Bologna, 
and  in  1733  to  England.  He  afterwards  went  to 
Paris,  to  study  engraving  under  Laurent  Cars.  He 
then  made  a  second  stay  in  England,  where  his 
first  productions  were  portraits  of  the  three  prin- 
cesses, Anne,  Amelia,  and  Caroline,  the  daughters 
of  George  II.  He  engraved  several  other  plates 
in  this  country,  but  returned  to  Venice,  where  he 
•opened  a  school  and  also  carried  on  a  considerable 
business  as  a  printseller.  He  died  at  Munich  in 
1780.  His  prints  are  very  numerous,  and  among 
his  scholars  were  Bartolozzi,  Elipart,  and  Berardi. 
The  following  are  perhaps  his  best  prints  : 

Peter  the  Great,  Emperor  of  Russia,  conducted  by 
Minerva;  after  Amiyoni. 

Anne,  Empress  of  llnssia.     Do. 

Elizabeth  Petrowua,  Empress  of  Russia,     Do. 

Carlo  Brosci,  called  Farinelli,  Musician.     Do. 


The  Education  of  the  Virgin.    Do. 
The  Infant  Christ  sleeping.     Do. 
The  Holy  Family  ;  after  i'aolo  Veronese. 
Tlie  Meeting  of  Jacob  and  Rachel ;  after  Luca  Giordano. 
Rebekah  and  Eliezer  ;  after  the  same. 
The  Death  of  Abel ;  after  Jienedttto  Luti. 
The  Magdalen  in  the  House  of  Simon  ;  after  the  same. 
The  Virgin  and  Infant  Christ ;  after  Solimeiia. 
Tile  Assumption  of  the  Virgin  ;  after  Piazzetta. 
S.  John  in  the  Desert ;  after  C.  van  Loo. 
Twelve  Landscapes  and   Pastoral  subjects ;  after  Zuc- 
carelli  ;  engraved  by  "Wagner  and  his  pupils. 

WAGNER,  Karl,  painter  and  etcher,  was  born 
at  Rossdorf  near  Meiningen  in  1796.  From  1817 
to  1820  he  studied  at  Dresden  ;  from  1821  to  1825 
he  travelled  in  Switzerland,  the  Tyrol,  and  Italy. 
On  his  return  he  was  appointed  painter  to  the 
court  and  inspector  of  the  Gallery,  at  Meiningen, 
and  took  to  painting  landscapes  in  oil  and  water- 
colour,  and  to  etching.  He  died  at  Meiningen 
in  1867. 

WAGNER,  Lddwiq  Christian,  painter  and 
etcher,  was  born  at  Wetzlar  in  1799,  and  at  first 
brought  up  to  trade.  In  1830  he  devoted  himself, 
under  Radl,  to  landscape  painting,  travelled  the 
following  year  in  Italy,  and  in  1835  settled  down 
to  further  study  at  Diisseldorf,  choosing  Ruysdael 
as  his  chief  model.  He  died  at  Wetzlar  in  1839. 
He  excelled  in  painting  forest  trees,  especially 
the  oak.     He  has  left  thirteen  etched  plates. 

WAGNER,  Maria  Dorothea,  sister  of  C.  W.  E. 
Dietrich,  and  mother  of  Johann  Georg  Wagner, 
was  born  about  1728,  and  died  at  Meissen  in  1788. 
She  painted  landscapes  and  historical  subjects  in 
oil  and  gouache. 

WAGNER,  Otto,  painter,  etcher,  and  litho- 
grapher, was  born  at  Torgau  in  1803.  He  studied 
in  the  Dresden  Academy,  and  under  the  scene 
painter  Jentsch,  and  afterwards  travelled  in  South 
Germany,  Switzerland,  and  (1830)  Italy.  He 
painted  landscapes,  with  groups  of  figures.  He 
etched  and  lithographed  a  few  plates,  and  painted 
some  scenes  for  the  Dresden  court  theatre.  He 
died  at  Dresden  in  1861. 

WAGNER,  Simon,  was  bom  at  Stralsund  in 
1799.  He  studied  at  Dresden,  where  he  con- 
tinued to  live  till  his  early  death  in  1829.  He  at 
first  painted  scenes  from  the  lives  of  soldiers, 
hunters,  and  peasants,  and  was  very  successful  to 
a  certain  point,  but  want  and  sickness  marred  the 
full  perfection  of  his  work.  Shortly  before  his 
death  he  produced  '  Seven  Scenes  from  the  Life  of 
Albrecht  Diirer,'  which  excited  warm  admiration. 

WAGNER-DEINES.Juhann,  was  born  at  Hanau 
in  1803,  studied  in  Berlin  and  Munich,  and  devoted 
himself  to  animal  and  landscape  painting,  taking 
the  works  of  Paul  Potter  and  Adrian  van  de  Velde 
for  his  models.     He  died  in  1880. 

WAGREZ,  Edmond  Louis,  French  painter;  born 
at  Aire  (Pas-de-Calais),  April  7,  1815  ;  became  a 
pujiil  of  Constant  Dutilleux  ;  made  his  d^but  at  the 
Salon  of  1835  with  ayiortrait  of  GdromeGommelin, 
now  in  the  Douai  Museum.  Though  he  worked 
at  landscape,  it  was  as  a  portrait  painter  that  he 
excelled,     lie  died  in  Paris  in  1882. 

WAHLBOM,  Johann  Wilhelm  Carl,  a  Swedish 
painter  and  draughtsman,  born  at  Calmar  in  1810. 
He  began  his  career  as  a  sculptor,  and  had  achieved 
some  success,  when  he  abandoned  his  first  pro- 
fession for  painting.  Taking  Winterhalter  for  his 
model,  he  produced  a  number  of  somewhat  thea- 
trical and  exaggerated  works,  both  in  history  and 
portraiture.     He  was  more  pleasing  as  a  draughts- 

327 


A  BIOGRAPHICAL  DICTIONARY  OF 


man,  his  most  important  achievement  heing  a  series 
of  drawings  from  Swedish  history.  His  '  Death  of 
Gustavus  Adolplius  '  is  now  in  the  Castle  at  Stock- 
holm.    He  died  in  Loudon  in  1858. 

WAINWRIGHT,  Thomas  Griffith,  an  English 
subject  painter,  was  born  towards  the  close  of  the 
18th  century.  He  exhibited  at  the  Royal  Academy 
from  1821  to  18'25,  and  wrote  some  art  criticisms 
for  the  '  London  Magazine '  under  the  name  of 
Janus  Weathercock.  His  misdeeds  procured  liim 
an  unenviable  notoriety.  He  married  secretly,  and 
subsequently  insured  the  life  of  his  wife's  sister. 
She  died  suddenly,  and  the  suspicion  of  having 
poisoned  her  falling  upon  him,  the  insurance 
company  resisted  Ids  claim.  He  was  afterwards 
transported  for  forgery,  and  died  at  Hobart  Town 
in  1852. 

WAIT,  Robert,  a  Scotch  portrait  painter,  bom 
in  the  latter  part  of  the  17th  century.  His  art 
training  was  obtained  from  George  Scougall  and 
from  Kneller.  He  had  a  good  practice  till  he  died, 
in  1732. 

WAKKERDAK,  p.  a.,  is  noted  by  Strutt  as 
the  name  affixed  to  a  portrait  of  Kenon  Simons 
Hassalaer.  The  same  artist  engraved  in  mezzotint 
a  landscape  after  Jan  Asselyn,  showing  a  cavern 
with  ruins  near  it,  and  peasants  at  the  entrance. 

WALBONNE.     See  Barbier-Walbonne. 

WALBURG, ,  is  mentioned  by  Strutt  as  the 

engraver  of  a  portrait  of  John  Frederick  Gronovius, 
from  a  design  of  his  own. 

WALCH,  Georg,  a  German  engraver,  who  flour- 
ished in  the  second  half  of  the  17th  century  (1650- 
78).  He  ai>pears  to  have  been  chiefly  employed  in 
engraving  portraits  in  line,  but  he  also  worked  in 
mezzotint. 

WALCH,  Jacob.     See  Babbaej,  Jacopo  de'. 

WALCH,  JoHANN,  painter,  born  about  1757, 
was  a  native  of  Kempten.  He  eventually  settled 
at  Augsburg  after  studying  at  Geneva,  Vienna, 
and  Rome.  He  painted  miniature  portraits  in 
water-colour,  and  also  carried  on  a  business  in 
maps.  A  miniature  of  the  Archduke  Anton  by 
him  is  in  the  Fischer  Collection  at  Vienna.  He 
died  in  1816. 

WALCH,  JoHANN  Sebastian,  son  of  Johann 
Walcli,  was  born  at  Augsburg  (?)  in  1787.  He 
painted  portraits  in  oil  and  miniatures,  but  after- 
wards took  to  glass-painting,  and  restored  the 
windows  in  Augsburg  cathedral.    He  died  in  1840. 

WALCH,  Sebastian,  an  amateur  engraver,  who 
lived  about  1750.  He  was  a  native  of  Switzerland, 
and  scraped  a  series  of  portraits  of  the  burgo- 
masters of  Zurich  from  1336  to  1740,  from  drawings 
by  J.  C.  Fuseh. 

WALCKIERS,  GnsTAVE,  was  born  at  Brussels 
in  1831.  He  was  an  exhibitor  at  the  Salon  of 
landscapes  of  considerable  merit.  His  '  Rue  de  la 
Regeiice,  Bruxelles,'  is  in  the  Antwerp  Gallery, 
and  '  La  Place  Catherine  k  Bruxelles  en  18'J0'  in 
the  Brussels  Royal  Museum.  He  died  at  Brussels 
in  1891. 

WALDECK,  Johann  Fbiedbich  Maximilian, 
was  born  at  Vienna  in  1766,  and  studied  in 
Paris  under  Vien,  David,  and  Prud'hon.  In  1785 
he  took  part  in  a  voyage  of  discovery  to  South 
Africa,  and  in  1794  entered  the  French  army  in 
Italy  as  a  volunteer.  Subsequently  he  went  a 
second  time  to  South  Africa,  and  in  1819  to  Chili 
and  Guatemala.  Three  years  later  he  was  in 
London,  where  he  designed  the  illustrations  to 
Del  Roo's  work  on  'The  Ruins  of  Palenque.'     In 

328 


1866,  when  a  hundred  years  of  age,  he  painted 
two  pictures,  dealing,  the  one  with  Grecian  and 
Roman  antiquities,  the  other  with  Mexican.  He 
died  in  Paris  in  his  one  hundred  and  tenth  year, 
in  1875. 

WALDMULLER,  Ferdinand  Georg,  painter, 
was  bom  in  Vienna  in  1793.  His  parents  wished 
him  to  enter  the  Church,  and  disinherited  him  when 
he  persisted  in  following  his  natural  disposition. 
He  studied  under  Lampi  and  Maurer,  at  the 
Academy,  and  earned  a  living  at  the  same  time  by 
making  drawings  for  bonbon  boxes.  When  he 
had  only  half-completed  his  education,  he  obtained 
a  place  as  drawing-master  to  Count  Gyulai,  in 
Agram.  He  married  an  actress  there,  and  travelled 
with  her  in  the  provinces  until  she  obtained  an 
engagement  at  Vienna.  He  first  practised  as  a 
portrait  painter,  imitating  the  style  of  Lawrence, 
but  afterwards  devoted  himself  to  genre.  At 
Vienna  he  obtained  the  post  of  curator  to  the 
Lamberg  Gallery,  in  the  Academy.  He  died  at 
Vienna  in  1865.     Works : 

A  Village  School.     (Berlin,  National  Gallery.) 
The  Couvent  Supper.     (  Vienna  Academy.) 


The  Tramp  Family 
The  Peasant's  Return. 
The  Dog  and  the  Grapes, 


Christmas  Morning. 
Sunday  Afternoon. 
'  Christmas-Box-ing.' 


WALDO,  Samuel,  a  native  of  Connecticut, 
U.S.A.,  was  born  in  1783,  and  after  some  pre- 
hminary  study  in  America,  came  to  London  in 
1806,  and  practised  for  three  years  as  a  portrait 
painter.  Returning  to  America,  he  then  settled  in 
New  York,  where  he  worked  successfully  until  his 
deatli  in  1861.  In  the  City  Hall  at  New  York  there 
are  several  portraits  of  ex-mayors  of  the  city  by 
him,  and  the  New  York  Historical  Society  owns 
his  picture  of  Peter  Renjsen. 

WALDOR.     See  Valdob. 

WALDORP,  Antoine,  was  bom  at  Huis-ten- 
Bosch,  near  the  Hague,  in  1803,  and  worked  as 
a  scene-painter  under  Brickenheimer.  Later  on 
he  painted  views  of  towns,  harbours,  churches, 
and  so  forth,  with  domestic  scenes  and  portraits. 
Later  still  he  devoted  himself  exclusively  to  the 
painting  of  calm  and  stormy  seas.  He  died  at 
Amsterdam,  October  12,  1866.  Among  his  paint- 
ings we  may  mention : 

Amsterdam.         R.  Gallery.     Still  Water  with  Shipping. 
Rotterdam.  Museum,     The     Escape    of     Grotius 

from  Loevestein. 

WALDRE,  Vincent,  an  Italian  decorative 
painter,  was  bom  at  Vicenza  early  in  the  18th 
century.  Coming  to  England,  he  was  patronized 
by  the  Marquis  of  Buckingham,  for  whom  he 
worked  at  Stowe.  On  his  patron  becoming  Lord 
Lieutenant  of  Ireland  (1787),  he  had  a  commission 
to  decorate  St.  Patrick's  Hall,  Dublin,  and  was 
made  architect  to  the  Irish  Board  of  Works.  He 
settled  and  married  in  Ireland,  and  died  at  Dublin 
towards  the  end  of  the  century,  aged  72. 

WALE,  Samoel,  was  bom  in  London,  (or  at 
Yarmouth,)  and  was  brought  up  as  an  engraver  on 
plate.  He  afterwards  studied  in  the  St.  Martin's 
Lane  Academy,  and  practised  decorative  painting 
in  the  manner  of  Francis  Hayman.  But  his  chief 
employment  was  designing  for  the  booksellers. 
He  understood  architecture  and  perspective,  and 
assisted  Gwynn  in  his  well-known  drawing  of  a 
section  of  St.  Paul's,  decorated  according  to  Sir  C. 
Wren's  intention.  He  also  made  drawings  for 
an   edition  of   Izaac  Walton's   'Angler,'   and    for 


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PAINTERS  AND  ENGRAVERS. 


•London  and  its  Environs.'  At  the  establialiment 
of  the  Royal  Academy,  Wale  was  chosen  a  found- 
ation member,  and  appointed  first  professor  of  per- 
spective. Upon  the  death  of  Wilson,  he  was  also 
made  librarian,  and  he  retained  both  these  places 
till  his  death,  which  took  place  in  London  in  1786. 
He  had  been  an  exhibitor  from  1769  to  1778,  and 
was  the  first  member  to  share  in  the  benefits  of  the 
Academy  pension  fund.  It  has  been  suggested 
that  he  was  the  author  of  a  well-known  view  of  the 
Stocks  Market,  which  now  belongs  to  Mr.  Graves. 
We  have  a  few  original  etched  vignettes  by  him. 
There  are  pictures  by  him  in  Bethlehem,  Christ's, 
the  Foundling,  and  St.  Thomas's  hospitals. 

WALES,  James,  was  bom  at  Peterhead,  Aber- 
deenshire, in  1748,  of  respectable  parents.  He 
showed  his  genius  for  drawing  at  an  early  age, 
and  was  educated  at  the  Marischal  College  of 
Aberdeen.  He  exhibited  portraits  at  the  Royal 
Academy  in  1778  and  the  following  years.  In  1791 
he  went  to  India,  where  he  painted  many  ex- 
cellent portraits.  He  began  the  picture  of  the 
Mahratta  Durbar,  which  was  afterwards  completed 
and  engraved  by  Thomas  Daniell,  R.A.  He  made 
twenty-four  drawings  from  the  Caves  of  EUoni, 
which,  with  the  plans,  were  engraved  and  published 
after  his  death  by  Thomas  Daniell,  in  his  work  on 
Hindoo  Excavations  (1803).  Wales  died  at  Sal- 
seth  on  the  Malabar  coast  in  1796.  He  left  some 
portraits  of  Indian  princes  and  their  ministers, 
which  passed  into  the  pos.session  of  Sir  Alexander 
Malet,  of  Wilbury  House,  in  Wiltshire. 

WALESCART,  Jan.     See  Valescart. 

WALKER,  Anthony,  an  English  draughtsman 
and  engraver,  was  born,  probably  at  Salisbury,  in 
1726.  He  studied  engraving  in  London  under 
John  Tinney,  and  at  the  St.  Martin's  Lane 
Academy.  He  was  long  employed  in  engraving 
frontispieces  and  vignettes,  from  his  own  designs, 
for  the  booksellers.  Some  of  these  are  not  desti- 
tute of  merit,  though  rather  heavy  and  dark.  The 
figures  in  WooUett's 'Niobe' were  by  him,  also  five 
original  illustrations  to  'Romeo  and  Juliet.'  He 
engraved  several  plates  for  Boydell,  among  them 
the  following  : 

Ourius  Dentatus  refusing  the  presents  of  the  Samoites  ; 
after  Pietro  da  Cortona. 

The  Village  Lawyer  and  his  Clients ;  after  Holbein. 

The  Angel  departing  from  the  House  of  Tobit ;  after 
Rembrandt  (exhibited  at  Spring  Gardens,  1765). 

View  of  the  City  of  Worcester  ;  after  J.  B.  C.  Chatelain. 

View  of  Lord  Harrington's  Park  ;  afttr  the  same. 

He  died  in  London  in  1765. 

WALKER,  Elizabeth,  an  English  miniature 
painter,  was  born  in  London  in  1800.  She  was  the 
daughter  of  S.  W.  Reynolds,  the  mezzotinter,  and 
married  the  Scottish  engraver,  W.  Walker.  She 
studied  engraving  under  T.  G.  Lupfon,  but,  after 
producing  several  plates,  among  others  her  own 
portrait  after  Opie,  she  devoted  herself  to  minia- 
tures, receiving  instruction  from  G.  Clint.  Obtain- 
ing a  good  practice,  she  was  appointed  miniature 
painter  to  William  IV.,  and  exhibited  at  the  Royal 
Academy  from  1818  to  1860.  After  a  long  career, 
she  died  in  London  in  1876.  There  is  by  her: 
Oxford.  Christ  Church.  Portrait  of  the  Earl  of  Devon. 
WALKER,  Fredehick,  landscape  painter,  was 
born  in  Windsor  Street,  Liverpool,  April  12, 
1841,  and  was  in  early  life  employed  in  the  office 
of  the  Liverpool  Official  Assignee.  He  studied  at 
the  Birkenhead  School  of  Art,  and  became  ac- 
quainted with  the  Liverpool  painters  of  the  time 


at  Mr.  John  Miller's  weekly  gatherings.  His  work 
was  sensitive  in  its  observation,  minute  and 
laboriously  finished  in  the  spirit  of  the  "  P.R.B." 
He  exhibited  once  or  twice  at  the  Exhibitions  of 
the  Liverpool  Academy.  From  Liverpool,  Walker, 
being  in  failing  health,  removed  to  Chester,  thence 
to  Tanlan,  near  Llanrwst,  and  finally  to  Denbigh, 
where  he  died.  May  17,  1874.  He  was  buried  at 
Whitchurch,  Denbighshire.  A  small  landscape 
on  panel  by  him  is  in  the  Walker  Art  Gallery, 
Liverpool.  j  g  d_ 

WALKER,  Frederick,  was  born  in  Marylebone, 
May  24, 1840.  He  began  his  studies  in  the  British 
Museum,  and  for  a  time  worked  under  an  architect 
called  Baker.  Leaving  him,  he  returned  to  the 
British  Museum,  and  entered  himself  at  Leigh's,  in 
Newman  Street.  It  was  not  long,  however,  before 
he  made  his  way  into  the  Royal  Academy  Schools. 
While  a  student  he  had  already  begun  to  draw  on 
wood,  and  had  placed  himself  with  Mr.  J.  W. 
Whymper  in  order  to  learn  the  requirements  of  the 
art.  He  won  employment  on  the  now  defunct 
periodical,  'Once  a  Week,'  which  did  so  much  in  a 
quiet  way  for  the  more  retired  walks  of  English  art, 
and  getting  an  introduction  to  Thackeray,  he  was 
engaged  to  make  drawings  for  the  '  Cornhiil  Maga- 
zine.' He  also  worked  for  'Good  Words,'  'Sunday 
at  Home,'  and  other  prints  of  the  same  kind. 
In  1864  he  was  elected  an  Associate  of  the  Society 
of  Painters  in  Water-Colours,  and  in  1866  a  full 
member.  In  1867  he  won  a  medal  for  his  water- 
colour  drawings  at  the  Paris  Exhibition.  In  1871, 
when  still  a  member  of  the  Water-Colour  Society, 
he  was  elected  an  Associate  of  the  Royal  Academy, 
by  which  a  much  required  precedent  was  set. 
Never  robust  in  health,  he  began  to  show  signs  of 
the  end  soon  after  his  election  into  the  Academy. 
A  winter  in  Algiers  did  him  little  good,  and 
on  the  5th  June,  1875,  he  died  at  St.  Fillan's, 
Perthshire.  He  was  buried  in  Cookham  church, 
the  centre  of  his  favourite  district,  and  there  his 
friends  and  brother  artists  erected  a  tablet  to  his 
memory.  Frederick  Walker's  art  has  had  an  enor- 
mous effect  upon  his  younger  contemporaries,  and 
the  broad  characteristics  of  a  large  proportion  of 
the  pictures  painted  in  England  between  1875  and 
the  present  date  (1888),  are  due  to  his  example. 
More  almost  than  any  other  painter  of  similar  rank 
did  he  depend  on  'feeling'  for  success.  As  a 
colourist  he  improved  till  the  end,  but  as  a 
draughtsman  he  was  more  proficient  in  his  earlier 
than  in  his  later  years.  As  a  composer,  too,  in 
line,  he  left  much  to  desire ;  but  whatever  theme 
he  selected  for  treatment,  he  clothed  it  with  a 
pathetic  beauty,  to  which  humanity  and  inanimate 
natm-e  had  each  to  contribute  its  share.  He  showed 
curious  skill  in  combining  rusticity  with  grace  in 
his  peasants.  As  a  technical  painter,  he  displayed 
more  power  in  water-colour  than  in  oil,  and  it  is 
among  the  workers  in  the  former  medium  that  his 
influence  has  chiefly  worked  for  good.  His  sub- 
jects were  frequently  taken  from  the  literature  of 
his  time,  but  in  many  instances  they  were  of  his 
own  invention,  and  in  others  tliey  were  idealized 
portraits  of  actual  places.  Among  his  best  works 
in  each  medium  we  may  name  : 

water-colours. 


Philip  in  Church. 

The  Fishmonger's  Shop. 

Marlow  Ferry. 

Our  Village. 

The  New  Boy. 


The  Fairy. 

High  Street,  Cookham. 
Portrait  of  himself. 
Mushrooms. 

The  Chaplain's  Daughter 
329 


A   BIOGRAPHICAL  DICTIONARY  OF 


Water-colour  replicas  of  nearly  all   tlie   oil   pictures 
mentioned  below. 

OIL  PICTURES. 
The  Lost  Path. 

Vagrants.     1868.     (Kational  Gallery.) 
The  Old  Gate.     18C9. 
The  Plough.     1871. 
At  the  Bar.     1872.    Before  his  death  he  erased  the 

head  in  this  pictiu-e. 
The  Harbour  of  Eefuge.     1872.     (National  Gallery.) 
Wayfarers. 

The  Bathers.     [Sir  Cuthhert  Quilt er.) 
The  Peaceful  Thames ;  left  unfinished.     (Sir  Charles 

Ten-nant,  Bart.) 
The  Right  of  Way.     1875. 

WALKER,  George,  an  English  painter,  was 
born  in  the  iirst  half  of  the  18th  century.  Many 
of  his  worka  were  engraved  by  W.  Byrne.  He 
exhibited  landscapes  at  tlie  Royal  Academy  from 
1792  to  1796,  and  is  believed  to  have  died  soon 
after  the  latter  year.  There  is  a  water-colour 
drawing  by  him  of  Deptford  in  the  South  Ken- 
sington Museum. 

WALKER,  James,  an  English  mezzotint  en- 
graver, was  born  in  1748.  He  studied  under  Valen- 
tine Green,  and  soon  acquired  a  reputation  by  his 
portrait  plates,  especially  by  those  after  Romney. 
In  1784  he  went  to  St.  Petersburg  as  engraver  to 
the  Empress  Catherine,  and  was  engaged  for  some 
years  on  various  important  works.  Returning  to 
England  in  1802,  with  a  pension,  he  lost  his  plates 
by  shipwreck  on  tlie  way.  Redgrave  states  that 
he  died  about  1808,  but  his  death  more  probably 
did  not  occur  till  after  1819.  The  following  are 
among  his  best  plates  : 

Mrs.  Musters  ;  after  Bomney.     1780. 

Countess  of  Carlisle.     Do.     1781. 

Miss  Woodley.     Do.     1781. 

Master  Tempest.     Do.     1781. 

Lady  Isabella  Hamilton.     Do.     1783. 

Sir  Hyde  Parker.     Do. 

The  Fair  Persian  ;  after  Maria  Cosway.     1784. 

Dr.  Robertson  ;  after  Reynolds. 

The  Infant  Hercules  ;  after  the  same. 

Woman  teaching  Child  to  read  ;  after  Rembrandt.    1792. 

Ariosto  ;  after  Titian.     1819. 

WALKER,  John,  engraver,  was  the  son  of 
Williaui  Walker  (of  Tliirsk).  He  practised  in 
London  towards  the  close  of  the  18th  century, 
finishing  many  of  his  father's  pl.ates  after  the 
latter's  death.  He  also  engraved  some  views 
which  were  publislied  in  the  '  New  Copper-plate 
Magazine '  in  1794-6. 

WALKER,  J.  Rawsok,  an  English  landscape 
painter,  born  in  the  latter  part  of  the  18th  century. 
He  had  a  good  practice  at  Nottingham,  and  ex- 
hibited occasionally  at  the  Royal  Academy,  at  the 
British  Institution,  and  at  Suffolk  Street  from  1817 
to  1865.  His  art  inclined  to  the  poetic  school  of 
landscape  painting. 

WALKER,  Robert,  an  English  portrait  painter 
and  contemporary  of  Van  Dyck,  who  formed  his 
style,  apparently,  by  study  from  the  works  of  that 
master.  He  did  not,  however,  attract  much  notice 
until  the  time  of  Cromwell,  whose  portrait  and 
those  of  other  republican  cliiefs  he  painted.  He 
painted  the  Protector  more  than  once.  One  portrait 
represents  him  with  a  gold  chain  about  his  neck, 
which  had  been  sent  to  Cromwell  by  Christina  of 
Sweden,  in  return  for  his  miniature  by  Cooper. 
Another  was  purchased  for  the  Grand  Uuke  of 
Tuscany,  whose  agent,  meeting  with  one  in  the 
hands  of  a  female  relation  of  the  Protector,  and 
offering  to  purchase  it,  was  asked    five   hundred 

330 


pounds,  and  paid  it.  Walker  had  for  some  time  an 
apartment  in  Arundel  House,  in  the  Strand.  It  is 
stated  on  an  engraved  portrait  of  him  by  Peter 
Lambart  that  he  died  there  in  1658.  His  own 
portrait,  by  himself,  is  in  the  picture  gallery  at 
Oxford  ;  another  at  Hampton  Court  is  the  original 
of  Lambart's  plate.     We  may  also  name  : 

London.  N.  Port.  Gal.  OUver  Cromwell. 

„  „  Henry  Ireton. 

„  „  John  Lambert. 

„  „  William  Faithorne. 

WALKER,  William,  an  English  landscape 
painter  in  water-colours,  was  born  at  Hackney  in 
1780.  He  studied  under  R.  Smirke,  and  in  1803 
paid  a  visit  to  Greece.  The  immediate  fruit  of 
this  voyage  was  the  publication  of '  Six  Picturesque 
Views  of  Greece,'  but  it  also  influenced  his  choice 
of  subjects,  which  were  chiefly  taken  from  the 
Mediterranean  and  the  East.  He  joined  the  Asso- 
ciated Artists  in  Water-Colours  in  1808,  and  in 
1820  was  elected  an  associate  of  the  Old  Water- 
Colour  Society,  where  he  exhibited  down  to  1836, 
as  well  as  at  the  Royal  Academy.  He  died  at 
Sawbridgeworth,  September  2,  1863.  There  is  a 
water-colour  drawing,  'The  Market  Woman,' by 
him  in  the  South  Kensington  Museum. 

WALKER,  William,  a  Scottish  engraver,  was 
born  in  Midlothian  in  1793,  and  studied  his  art  in 
Edinburgh,  under  John  Mitchell.  In  1816  he  came 
to  London,  and  practised  stipple  under  T.  Wool- 
noth,  and  mezzotint  under  'Thomas  Lupton.  In 
1819  he  returned  to  Scotland,  wliere  he  engraved 
some  line  plates  in  stipple  after  Sir  Henry  Raebum. 
Among  these  were  portraits  of  Sir  Walter  Scott 
and  of  the  painter  himself,  for  which  he,  Walker, 
had  given  Raeburn  commissions.  He  also  com- 
missioned Sir  Thomas  Lawrence  to  paint  a  portrait 
of  Lord  Brougham,  from  which  he  made  another 
excellent  plate.  In  1832  he  settled  in  London, 
where  he  died  on  the  7th  September,  1867.  His 
wife  was  Elizabeth  Walker,  q.  v.  He  published 
his  own  plates  ;  beside  those  already  mentioned 
we  may  name : 

The  Passing  of  the  Reform  Bill. 

Reformers  at  the  Diet  of  Spires  ;  after  Cattermole.  1847. 
Caxton  and  Edward  IV. ;  after  Maclise. 
The  Aberdeen  Cabinet.     1857. 

Distinguished  Men  of  Science  living  in  Great  Britain  in 
1807. 

WALKER,  William,  brother  of  Anthony  Walker, 
was  born  at  Tliirsk  in  1729,  and  after  serving  an 
apprenticeship  to  a  dj'er,  came  to  London  and  was 
instructed  in  art  by  his  brother.  He  worked  for 
nearly  thirty  years  as  an  illustrator  of  periodicals, 
and  was  also  much  employed  by  Boydell.  The 
process  of  re-biting  was  a  discovery  of  his.  He 
died  in  Clerkenwell,  February  18,  1793.  Among 
others,  we  have  the  following  prints  by  him: 

The  Family  of  Sir  Balthazar  Gerbier  ;  after  Van  Dyck. 

Diano  and  Calisto  ;  after  F.  Le  Moyne. 

The  Power  of  Beauty  ;  after  Fil.  Lauri. 

Christ  appearing  to  Mary  Magdalene  ;  after  Pietro  da 

Cortona. 
The  Young  Bird-catchers ;  after  Gasp.  Netscher. 
Tlie  Girl  and  Chickens  ;  after  Ant.  Amorosi. 
The  Boy  and  Bird's-nest ;  after  the  same. 
A  Flemish  Entertainment;  after  Van  Herp. 
Jacob  watering  Rachel's  Flocks ;  after  Trevisani 
Isaac  blessing  Jacob  ;  after  the  same. 
Lions  at  play  ;  after  Ruhens. 

WALL,  John,  a  physician  and  amateur  painter, 
was  born  at  Powick,  Worcestershire,  in  1708.     He 


PAINTERS   AND   ENGRAVERS. 


was  educated  at  Oxford,  and  became  eminent  as  a 
physician  and  experimental  chemist  in  Worcester. 
He  had  a  hand  in  the  establishment  of  the  Royal 
Worcester  Porcelain  Factory,  and  as  a  painter  he 
made  some  cartoons  for  windows.  One  of  these  is 
in  the  chapel  of  the  Bishop's  palace  at  Hartlebury. 
Dr.  Wall  died  at  Worcester  in  1783. 

WALL,  W.  R.  VAN  DER.    See  Van  der  Wall. 

WALLACK,  John,  received  his  art  training  at 
the  Royal  Scottish  Academy  School,  and  soon 
turned  his  attention  to  lithography.  In  that 
medium  his  best-known  work  is  a  series  of  carica- 
ture-drawings of  public  men  wliich  he  did  for 
Messrs.  Cope,  the  tobacco  manufacturers  of  Liver- 
pool. He  did  a  good  deal  of  book  illustration,  and 
contributed  to  the  Exhibitions  of  the  Royal  Scottish 
Academy,  usually  genre  subjects  and  interiors  with 
figures,  executed  on  a  small  scale  and  reminiscent 
of  the  Dutch  School.     He  died  in  1903. 

J.  H.  W.  L. 

WALLACE,  William,  a  Scottish  portrait  painter, 
was  bom  at  Falkirk  in  1801.  For  some  years  he 
practised  at  Edinburgh,  but  in  1833  settled  in 
Glasgow.  He  died  in  1866.  There  is  by  him  : 
Edinburgh.  Nat.  Gall.  Portrait  of  Thomson  of  Dud- 
dingston. 

WALLAERT,  Pierre,  painter,  was  bom  at  Lille 
in  the  latter  half  of  the  18th  century.  He  exhibited 
at  the  Salon  from  1795  to  1810.  In  the  Marseilles 
Museum  there  is  a  'Shipwreck'  by  him,  and  in  that 
of  Toulouse  a  washed  landscape.  He  died  in  Paris 
about  1812. 

WALLER,  J.,  portrait  painter,  practised  about 
1700.  After  him  Bernard  Lens  engraved  a  portrait 
of  Lord  Cutts,  surrounded  by  Mars,  Minerva,  and 
Apollo. 

WALLINT.     See  Lint. 

WALLIS,  George,  F.S.A.,  painter,  art  educa- 
tionalist, and  writer  ;  he  was  the  son  of  John 
Wallis  (1783-1818);  was  born  at  Wolverhamp- 
ton, June  8,  1811,  and  educated  at  the  Grammar 
School.  He  practised  as  an  artist  in  Manchester 
from  1832  to  1837,  painting  in  oil  and  water- 
colours,  chiefly  genre  subjects  and  portraits  ;  the 
then  Earl  of  Wilton  was  amongst  his  patrons, 
for  whom  he  executed  several  works.  His  most 
important  picture  of  this  period  (1832)  was  'The 
Fall  of  Napoleon,'  engraved  by  6.  Zobel.  His 
three  pictures,  'The  Resurrection,'  'The  Glory,' 
and  'The  Fall  of  the  Year,'  most  careful  transcripts 
of  nature,  were  specially  selected  for  the  Inter- 
national Exhibition,  1862,  and  attracted  consider- 
able attention.  Early  in  life  he  took  an  interest  in 
art  education  as  applied  to  designs  for  art  manu- 
facture and  decoration,  and  was  appointed  one  of 
the  first  Head-Masters  of  the  Government  Schools 
of  Design,  organizing  the  Spitalflelds  (1843)  and 
the  Manchester  (1844)  Schools.  In  1845  he  organ- 
ized the  first  Exhibition  of  Art  Manufactures  ever 
held  in  England,  and  delivered  the  first  systematic 
course  of  lectures  on  the  principles  of  Decorative 
Art.  Lord  Clarendon,  then  President  of  the  Board 
of  Trade,  asked  W^allis  to  draw  up  the  chart  of 
artistic  and  scientific  instruction  as  applied  to 
Industrial  Art,  which  is  the  basis  of  the  instruction 
afforded  by  the  present  Board  of  Education.  He 
took  an  active  part  in  the  conception  and  organiz- 
ation of  the  Great  Exhibition  of  1851,  and  was  a 
Deputy  Commissioner  for  England  and  Ireland. 
He  acted  in  a  similar  capacity  in  the  International 
Exhibition,  1862,  and  the  Paris  Universal  Exhibi- 
tions, 1855  and  1867.      Wallis  was  Head-Master 


(1852-1857)  of  the  Birmingham  School  of  Art,  and 
Art  Superintendent  of  the  district.  He  was 
Special  Commissioner  to  the  United  States,  1853, 
to  report  upon  the  Arts  and  Manufactures.  He 
was  a  constant  contributor  to  all  the  leading  Art 
periodicals,  and  delivered  at  various  times  a  great 
number  of  lectures  on  Art  Education.  He  in- 
vented autotypeography,  a  process  by  which  a 
drawing  was  made  to  engrave  itself  upon  a  metal 
plate,  the  precursor  of  the  process  illustration  of 
to-day.  Wallis  was  one  of  the  pioneers  of  free 
libraries,  and  drafted  the  Act  for  WiUiam  Ewart, 
M.P.,  known  as  "  The  Museums  and  Free  Libraries 
Act."  He  was  appointed  Keeper  of  the  Art  Col- 
lections of  the  South  Kensington  Museum  (1860- 
1891).  He  died  at  Wimbledon,  October  24,  1891, 
shortly  after  his  retirement  from  his  long  public 
services.  G.  H.  W, 

WALLIS,  Henry,  born  in  1804,  was  an  engraver 
of  considerable  ability.  He  worked  in  pure  line  on 
steel,  and  produced  some  fine  plates  for  Thomson's 
'  Seasons '  and  Turner's  '  Harbours  of  England,' 
besides  many  book-illustrations  after  Nash,  Pugin, 
W.  H.  Bartlett,  T.  Allom,  and  others.  Midway  in 
his  career  he  was  struck  down  by  paralysis,  and 
was  forced  to  abandon  art  for  art-deahng.  For 
many  years  he  was  well  known  as  the  proprietor 
of  the  French  Gallery  in  Pall  Mall.  He  died  on 
October  15,  1890.  He  must  not  be  confused  with 
his  contemporary,  Henry  Wallis,  R.W.S.,  landscape 
painter,  still  living  in  1904. 

WALLIS,  John  William,  a  Scottish  landscape 
painter,  was  born  about  1765.  He  practised  for 
some  years  in  Italy  and  Germany,  but  after  1812 
devoted  himself  to  picture  dealing. 

WALLIS,  Joshua,  an  English  landscape  painter 
in  water-colour,  was  born  in  1789.  He  excelled  in 
snow  scenes,  and  his  works  had  many  good  points, 
but  he  did  not  win  success.  He  exhibited  at  the 
Royal  Academy  from  1809  to  1820,  and  died  at 
Walworth  in  1862.  There  are  three  water-colour 
drawings  by  him  in  the  Kensington  Museum. 

WALLIS,  Robert,  an  English  landscape  en- 
graver, born  in  London  in  1794.  He  worked  in 
line,  and  his  renderings  of  Turner  are  excellent. 
He  was  much  employed  by  the  publishers.  Speci- 
mens of  his  art  will  also  be  found  in  the  '  Art 
Journal,'  and  '  Roger's  Poems,'  as  well  as  in  '  Eng- 
land and  Wales,'  and  '  The  Southern  Coast.'  He 
retired  to  Brighton  in  1860,  where  he  spent  his 
latter  years,  and  died  in  1878.  Amongst  his  best 
plates  are : 

The  Approach  to  Venice  ;  after  Turner. 

Rrightou  Chain  Pier ;  after  the  same. 

Lake  Neuii ;  after  the  same. 

The  Dutch  Ferry  ;  after  Callcott. 

On  the  Gulf  of  Venice ;  after  Clarkson  Stanfleld. 

Val  S.  Nicoli  ;  after  J.  D.  Harding. 

WALMISLEY,  Frederick,  an  English  subject 
and  portrait  painter,  was  born  in  1815.  He  studied 
under  H.  P.  Briggs,  and  in  the  schools  of  the  Royal 
Academy.  He  exhibited  at  the  British  Institution, 
in  Suffolk  Street,  and  at  the  Royal  Academy,  from 
1838  to  1872.  His  work  was  much  impeded  by 
paralysis  of  the  legs.     He  died  in  1875. 

WALMSLEY,  Thomas,  landscape  painter,  was 
descended  from  a  Rochdale  family  of  good  position, 
but  was  bom  in  Ireland  in  1763,  at  which  time 
his  father,  a  major  in  the  army,  was  there  with 
his  regiment.  Having  quarrelled  with  his  friends 
he  came  to  London,  to  procure  a  living  by  his  own 
exertions.     Having  already  made  some   progress 

331 


A  BIOQBAPHICAL  DICTIONARY  OF 


in  landscape  painting,  he  was  engaged  as  scene- 
painter  at  the  King's  Theatre,  and  afterwards  in 
the  same  capacity  at  Covent  Garden.  He  subse- 
quently held  a  similar  post  in  the  Crow  Street 
Theatre,  Dublin,  but  finally  settled  at  Bath,  where 
he  practised  landscape  with  success  for  the  last 
ten  years  of  his  life.  Between  1790  and  1796  he 
exhibited  many  landscapes,  chiefly  Welsh  scenes, 
at  the  Koyal  Academy.     He  died  at  Bath  in  1805. 

WALRAVEN,  Isaak,  a  Dutch  amateur  painter 
and  engraver,  was  born  at  Amsterdam  in  1686. 
He  worked  successively  under  a  goldsmith,  a 
sculptor,  and  lastly  under  the  painter  Gerard  Rade- 
maker,  after  whose  death  he  went  to  Diisseldorf  to 
copy  pictures  in  the  Gallery.  His  own  pictures 
were  chiefly  historical.  His  'Death  of  Epanii- 
nondas  '  is  in  the  Amsterdam  Museum.  He  has 
left  a  series  of  etchings  in  the  manner  of  Stefano 
della  Bella,  and  some  of  goldsmiths'  patterns.  He 
died  at  Amsterdam  in  1764-5. 

WALRAVEN,  Nic.  See  Haeften. 
WALS,  Gottfried,  larjdscape  painter  and  en- 
graver, was  a  native  of  Cologne,  and  flourished 
about  1640.  He  studied  under  Agostino  Tassi, 
and  worked  chiefly  in  Italy.  He  lost  his  life  in 
an  earthquake  at  Naples. 

WALSCHARTZ,  Francis,  son  of  Francis,  a 
goldsmith,  and  Mary  Rommel,  born  at  Li(?ge  in 
1595,  and  died  there  in  1675.  He  served  his 
apprenticeship  at  Antwerp,  and  afterwards  became 
at  Rome  a  pupil  of  the  Venetian,  Charles  Sarracino. 

Foy  Notre  Dame.  Church.     Adoration  of  the  Shepherds. 

16i6.     {Sigmd.) 
Li6ge.  Franciscan  Church.    Adoration  of  the  Magi.    1618. 
NamuT.  <S't.  John,     Scourging  of  Christ. 

W.  H.  J.  W. 

WALSKAPPEL,  Jakob  van,  (Walscapelle,  or 
Waltskapelle,)  was  a  painter  of  fruit  and  flowers. 
The  dates  of  his  birth  and  death  are  unknown,  l)ut 
those  of  his  pictures  range  from  1670  to  1680. 
According  to  Houbraken  he  was  living  at  Amster- 
dam before  1667  and  after  1716,  and  abanduiied 
art  for  some  other  calling.  He  is  said  to  have 
been  a  pupil  of  the  flower-painter,  Cornells  Kick. 
His  pictures  are  something  like  those  of  J.  D.  de 
Hecm.  His  flowers  are  tastefully  arranged  in 
globular  water-bottles,  and  besprinkled  with  butter- 
flies, moths,  and  other  insects.  His  pictures  are 
fairly  numerous  in  England  ;  the  National  Gallery 
has  one ;  others  are  to  be  found  in  the  Berlin 
Museum,  at  Frankfort,  at  Schwerin,  and  in  New 
York. 

WALTER,  Henry,  a  painter  of  pastoral  and 
rural  subjects,  was  born  in  London  about  1790. 
His  works  were  few  in  number,  and  less  well- 
known  than  they  deserved.  Being  much  engaged 
in  teaching,  he  had  little  time  to  devote  to  the 
practice  of  his  art,  and  his  over-severity  in  his 
judgment  of  his  own  work  caused  him  to  destroy 
much  that  might  have  given  him  a  wider  reput- 
atioTi.  His  pictures  occasionally  appeared  at  the 
winter  exhibitions  of  the  Royal  Academy,  and  a 
'  Farmyard  Scene  '  of  much  merit,  was  at  the  great 
exhibition  of  1851.  His  private  character  was 
such  as  to  attract  many  friends,  and  he  enjoyed 
the  intimacy  of  Samuel  Palmer,  F.  0.  Finch,  Geo. 
Richmond  the  elder,  Blake,  and  Linnell.  He  died 
at  Torquay,  May  23,  1849. 

WALTER  OF  COLCHESTER.     A  monk  of  St. 

Alban's,  who  flourished  in  the  first  half  of  the  13th 

century,  and  is  rememliered  chiefly  as  a  statuary 

and  carver,  but  is  said  to  have  been  also  a  painter. 

332 


WALT  HER,  Friedrich,  of  Dinkelsbuhl,  an  early 
German  painter,  is  said  to  have  flourished  in  the 
second  half  of  the  15th  century,  and  to  have  painted 
altar-pieces  in  the  manner  of  Martin  Schongauer. 
In  conjunction  with  Hans  Hiirning  {q.  v.)  he 
designed  a  series  of  prints  for  a  'Biblia  Pauperum' 
(published  in  1471). 

WALTHER,  Karl  Siomund,  was  born  at  Dres- 
den in  1783.  He  studied  under  Schubert  in  his 
native  city,  and  became  known  as  a  pleasing  por- 
trait painter.  He  also  painted  a  few  historical 
pictures.     He  died  in  1820. 

WALTIER,  Charles  Emile.    See  Wattier. 

WALTON,  Elijah,  F.G.S.,  was  born  at  Bir- 
mingham on  November  22iid,  1832.  He  received 
his  early  lessons  in  art  at  the  Birmingham  School 
of  Design.  He  exhibited  at  the  Royal  Academy 
at  the  age  of  fifteen,  and  sold  his  work.  He 
studied  afterwards  in  London,  in  the  Royal 
Academy  Schools,  and  at  eighteen  had  completed 
his  studies  in  the  Life  School.  The  works  he  will 
best  be  remembered  by  are  his  pictures  of  the 
Alps.  He  made  journeys  to  Egypt,  Greece, 
Switzerland,  Norway,  Scotland,  the  English 
Lakes,  and  to  the  Isle  of  Wight.  He  held  a 
series  of  annual  exhibitions  of  his  works  in  Lon- 
don. Hi>  produced,  from  drawings  and  paintings 
made  by  himself,  illustrated  works  on  'The  Camel: 
its  Anatomy,  Proportions,  and  Paces,'  1865  ; 
'Peaks  and  Valle\s  of  the  Alps,'  1867  ;  '  Clouds  : 
their  Forms  and  Combinations,'  1869;  'Flowers 
from  the  U|>per  Alps,'  1869.  He  ultimately  settled 
near  Bromsgrove,  where  he  died  in  1880.      \  b.  C. 

WALTON,  Henry,  an  English  subject  and  por- 
trait painter,  was  born  about  1720.  He  was  a 
member  of  the  Society  of  Artists,  where  he  ex- 
hibited, as  well  as  at  the  Royal  Academy,  from 
1771  to  1779.  His  subjects  were  usually  portraits 
in  small  or  domestic  incidents.  Several  of  his 
pictures  have  been  engraved.  His  death  took 
place  about  1790.  Two  of  his  pictures  were  ex- 
hibited at  the  Grosvenor  Gallery  in  1889. 

WALTON,  James  Trout,  an  English  landscape 
painter,  was  born  at  York.  He  studied  under  Etty, 
his  fellow-townsman,  and  travelled  in  Switzerland 
and  Algiers  ;  but  excelled  especially  in  English 
pastoral  landscape.  He  died  on  the  17th  October, 
1867,  at  York. 

WALTON,  Parry,  an  English  copyist  and  still- 
life  painter  of  the  17th  century.  He  studied  under 
Robert  Walker,  and  became  keeper  of  the  pictures 
lo  James  II.  He  had  much  practice  as  a  picture 
restorer,  and  as  such  exercised  his  skill  on  Rubens's 
ceiling  at  Whitehall.  For  his  work  upon  it  he 
was  paid  £212.  He  died  in  Lincoln's  Inn  J'ields 
about  1700.  His  son,  who  succeeded  to  his  appoint- 
ments, was  known  as  a  copyist 

WALWERTH,  Jakob  Samuel,  engraver,  was 
born  at  Nuremburgin  1750.  He  studied  draughts- 
manship under  Preisler,  and  engraving  under 
Schweickhart.  He  was  chiefly  employed  as  an 
engraver  of  anatomical,  botanical,  and  architectural 
plates,  and  worked  much  for  the  publisher  Mechel, 
at  Basle.  His  landscapes  and  historical  plates 
were  comparatively  unimportant.  He  died  in 
1815. 

WAMPS,  Bernard  Joseph,  (or  Wampe,)  was 
bom  at  Lille,  November  30,  1689.  He  studied 
under  Vuez  in  his  native  city,  and  under  Jean 
Restout  in  Paris.  In  1715  he  won  the  Premier 
Grand  Prix  de  Rome  with  a  '  Judith  receiving  the 
treasures  found  in  the  tent  of  Holofemes.'     After 


PAINTERS  AND  ENGRAVERS. 


five  years  in  Rome,  Wamps  settled  in  Lille,  where 
he  was  accorded  certain  privileges  by  the  muni- 
cipality. He  died  in  that  city  about  1750. 
Works: 

Cambrai.  Museum.    Hagar  in  the  Desert. 

»»  »»  Jesus  at  Emmaus. 

(And  three  others.) 
Douai.  „  The  Tribute  Money. 

>»  »»  The  Last  Supper. 

)>  .1  Christ  blessing  Httle  Children. 

(These  three  are  sketches  for 
pictures  in  the  Churches  of 
S.  Pierre  and  S.  Jacques,  at 
Douai.) 
Ijle.  „  The  Judgment  of  Solomon. 

WAMPS.     See  Wans. 

WANDELAAR,  Jan,  painter  and  engraver,  was 
bom  at  Amsterdam  about  1691.  He  was  instructed 
by  W.  van  Gouwen  and  G.  de  Lairesse,  and  painted 
many  portraits,  some  in  pastel.  He  also  engraved 
portraits  and  book  ornaments  for  publishers,  but  his 
best  productions  were  thirty-four  plates  for  the 
'  Tabulae  sceleti  et  musculorum  corporis  huraani,' 
of  Albinus.  The  drawings  were  made  from  the  sub- 
jects by  himself,  under  the  direction  of  Albinus. 
There  is  an  English  translation,  in  which  (he  figures 
are  copied  in  the  original  size,  by  C.  Grignon, 
Ravenet,  Scotin,  and  others.  Wandelaar  was 
known  as  an  author,  and  wrote  a  comedy  called 
'The  Shara_  Relation.'  It  was  through  his  exertions 
that  a  public  school  of  design  was  opened  at  Am- 
sterdam.    He  died  at  Leyden  in  1769. 

WANE,  RiPHARD,  marine  and  landscape  painter, 
■was  born  at  Manchester,  April  3,  1862  ;  his  father 
was  a  Cumberland  man,  and  his  motlier  was  of 
French  descent.     When  left  an  orphan  at  the  age 
of  fourteen  he  was  taken  in  hand  by  his  brother, 
the  leading  photographer  at  l)0Hglas,  Isle  of  Man, 
who  employed  him  in  his  business.     Wane,  how- 
ever, after  devoting  his  leisure  to  landscape  study, 
eventually  left  his  brother  and  returned  to  Man- 
chester, where  he  studied  under  Frederic  Shields 
and  joined   the  Manchester  Academy.     His  first 
favourite   sketching    grounds   were   in    Scotland, 
where  he  associated  with  some  of  the  best  of  his 
contemporaries   and   assimilated   certain   of  their 
methods.     Afterwards    Wane    was    attracted    to 
North    Wales,   where    he    eventually    settled,   at 
Deganwy,   in    1883.     During   seven    years   spent 
there   Wane  formed  associations   with    Liverpool 
artists  and  sent  regularly  to  Liverpool  exhibitions. 
In   this   period   some   of  his   best   pictures   were 
produced,  including  'The  Gloom  of  Llyn  Idwal ' 
and  '  The  Fringe  of  the  Dark  Blue  Ocean.'     The 
latter  is  in  the  collection  of  Mr.  Albert  Wood  of 
Bodlondeb.   From  1884  Wane  was  a  pretty  regular 
contributor    to   the    Royal    Academy    and    other 
London  exhibitions,  and  his  successes,  especially 
at  the  Grosvenor  Gallery,  enforced  by  the  hearty 
praise  of  Lord  Leighton,  led  him  to  go  to  London 
in    1890.     He   resided   at   Dulwich,    and    painted 
chiefly  in  Surrey  and  on  the  south  coast.     At  this 
time  he  painted  some  stage  scenery,  including  a 
drop-scene    for    the   new    Ipswich   Theatre.     He 
had  previously,   while  in  Manchester,  done  some 
theatrical  work.     Even  from  London,  however,  he 
continued  his  annual   visits  to  the  Isle  of  Man, 
which  supplied  the  subjects  of  many  of  his  moet 
important   pictures.     In   1896  a  severe   influeDna 
attack  prostrated  Wane  and  he  removed  to  Liver- 
pool, where  his  health  was  re-established  ;  and  the 
remainder    of     his    life    was    spent    there.      On 
March   25,  1900,  his    only    son,    Harold  Wane, 


died,    who,    although    under  twenty-one  years  of 
age,  had  already  given  great  promise  of  excellence 
in  marine  subjects.     In  the  late  sununer  of  1903 
Wane  fell  ill,  and  he  died  at  Egremont,  a  Cheshire 
suburb  of  Liverpool,  on  Friday,  January  8,  1904, 
leaving   a  widow   and  five  daughters,  the  eldest 
of  whom,  Ethel  Wank,  exhibits  genre  subjects. 
Wane's   strongest   work   was  in   bis   marines,   in 
which   the   influence   of   Edwin   Ellis   and   CoHq 
Hunter  is  well  assimilated.    He  was  also  excellent 
in  rustic  village  scenes,  such   as  he  found  in  his 
favourite  Warwickshire  village  of  Welford.     Oil 
and  water-colour  were  equally  congenial  to  him, 
and  he  was  a  brilliant  sketcher.     His  technique, 
at  first  timid,  and  carefully  imitative,  afterwards 
became  bold  and  dashing.     His   colour  was   de- 
cidedly, if  not  superlatively,  good.    He  occasionally 
gave  prominence  to  the  figure  in  landscapes  and 
interiors,  but  not  with  marked  success.     Wane  was 
of  middle  size,  stout,  robust  and  vigorous  in  appear- 
ance, an  excellent  and  caustic  talker,  and  a  great 
lover  of  music.     For  about  twenty  years  he  was  a 
regular  exhibitor  at  the  Royal  Academy  and  other 
London  galleries,  as  well   as  at  Manchester,  Edin- 
burgh, Glasgow,  Liverpool,  Birmingham,  and  other 
provincial  exhibitions.     He  was  a  member  of  the 
council  of  the  Dudley  Gallery,  and  in  1900  Presi- 
dent of  the   "Liver"  Sketching   Chib.     His   'In- 
coming Tide  'is  in  the  Wolverhampton  Permanent 
Collection,   and    his   'The    Lonely   Watch'   was 
purchased  for  the  Liverpool  Gallery  in    October 
1904.  E,  R.  D. 

WANS,  Jan  Baptist,  (or  Wamps,)  surnamed 
'  The  Captain,'  from  being  commander  of  the  civic 
guard  in  his  native  town,  was  a  Fleming,  born  in 
1628.  He  was  accounted  a  good  landscape  painter 
in  the  classic  Italian  style  he  and  his  contem- 
poraries borrowed  from  Poussin.  He  also  made 
copies  of  the  works  of  Van  Dyck.  There  is  a 
landscape  by  him  in  the  Antwerp  Museum.  His 
death  took  place  after  1687,  but  the  date  is  not 
known. 

WAPPERS,  GusTAVE,  a  Belgian  historical 
painter,  was  born  August  23,  1803,  at  Antwerp. 
He  worked  under  Herre.yns  and  Van  Bree,  in  the 
Academy  of  his  native  city,  and  subsequently 
studied  the  works  of  Rembrandt  in  Holland  and  the 
Italian  masters  in  Paris.  Returning  to  Belgium  in 
1830,  he  became  the  leader  of  the  romantic  move- 
ment, and  soon  deposed  the  classicist  Navez  from 
his  position  as  head  of  the  Belgian  school.  His 
first  important  picture,  the  '  Episode  of  the  Belgian 
Revolution,'  now  in  tlie  Brussels  Museum,  raised 
the  standard  of  revolt,  and  a  band  of  j'oung  artists 
eagerly  enlisted  themselves  under  it.  His  pictures, 
based  on  subjects  from  Flemish  history,  at  once 
became  popular  in  the  new  kingdom.  Many 
honours  were  bestowed  on  him.  From  1839  to 
1855  he  was  Director  of  the  Antwerp  Academy.  In 
his  own  country  he  was  made  a  baron  and  ap- 
pointed principal  painter  to  the  King  ;  while  in 
France  he  was  made  an  ofiicer  in  the  Legion  of 
Honour.  His  latter  years  were  chiefly  spent  in 
Paris,  where  he  died,  December  6,  1874.  Amongst 
his  works  are  : 

MuseumA^^^^^  ^^'^  Great  at  Zaandam. 
R.  3Tusmm.     Van  Dyck  falling  in  love  with 
his  model. 
Academy.    Portrait  of  himself. 
„  The  Song  of  Solomon. 

Jesuits'  Church.     The  Presentation  in  the  Temple. 
Museum.     Charles  I.  going  to  the  Scaffold] 

333 


Amsterdam. 


Antwerp, 


Brussels. 


A  BIOGRAPHICAL  DICTIONARY  OF 


Brussels.  Museum.    Episode  of  the  Belgian  Eevoln- 

tion  of  1830. 
„  Royal  Palace.    Temptation  of  St.  Anthony. 

Tirlemont.    St.  Germain.    Pieta. 
Versailles.  Gallery.    Defence  of  Rhodes. 

WARD,  Edwabd  Matthew,  an  English  histori- 
cal painter,  was  born  in  Pimlico  in  1816.  His 
mother  was  a  sister  of  James  and  Horace  Smith, 
the  authors  of  '  Rejected  Addresses.'  His  art  pro- 
clivities early  developed  themselves,  and  in  1830 
he  obtained  the  silver  palette  of  the  Society  of 
Arts.  He  was  indebted  to  Chantrey  and  Wilkie 
for  much  valuable  advice  and  encouragement,  and 
in  1835  entered  the  scliools  of  the  Royal  Academy. 
Before  he  was  twenty  he  produced  a  series  of 
illustrations  to  the  famous  jeu  desprit  of  his  two 
uncles.  In  1836  he  went  to  Rouie,  and  studied 
in  the  Academy  of  St.  Luke,  where  in  1838  he 
was  awarded  the  silver  medal  for  historical  com- 
position. After  a  stay  of  three  years  in  Italy,  lie 
made  his  way  to  Munich,  and  worked  on  fresco 
painting  for  a  time  under  the  direction  of  Cornelius. 
On  his  return  to  England  he  made  his  appearance 
on  the  walls  of  the  Royal  Academy  in  1839  with  a 
picture  of  '  Cimahue  and  Giotto.'  He  soon  devoted 
himself  to  tlie  class  of  subjects  which  has  been 
termed  "  historical  anecdote."  His  chief  pictures 
were  :  '  Dr.  Johnson  reading  Goldsmith's  "  Vicar  of 
Wakefield"'  (1843),  'Dr.  Johnson  and  Lord  Ches- 
terfield' (1845;  National  Gallery),  'Disgrace  of 
Lord  Clarendon'  (1846),  '  The  South  Sea  Bubble' 
(1847  ;  National  Gallery),  'Charles  II.  and  Nell 
Gwyn'(1848;  South  Kensington  Collection  ;  Jonea 
Collection),  'James  II.  hearing  of  the  lauding  of 
the  Prince  of  Orange'  (1860;  National  Gallery), 
'  Louis  XVI.  and  his  family  in  the  Temple'  (1851), 
'Charlotte  Corday  going  to  Execution'  (1852), 
and  'The  Ante-chamber  at  Whitehall  during  the 
last  moments  of  Charles  II.'  (1861).  He  early 
entered  into  the  Westminster  Hall  competitions. 
In  1843  he  sent  a  '  Boadicea,'  which  was  unsuccess- 
ful ;  but  at  length,  in  1853,  he  received  a  com- 
mission for  eight  pictures  for  the  corridor  of  the 
House  of  Commons,  of  which  the  best,  perhaps, 
are  'The  Execution  of  Montrose,'  'The  Last  Sleep 
of  Argyll,'  and  'Alice  Lisle  concealing  Fugitives.' 
He  also  made  several  designs  for  tapestry,  which 
were  carried  out  at  the  works  at  Old  Windsor. 
He  was  elected  an  Associate  of  the  Royal  Academy 
in  1846,  but  his  election  to  the  full  membership 
was  delayed  till  1855.  His  mind  became  unhinged 
through  ill-health,  and  he  died  by  his  own  hand  at 
Windsor  on  the  15th  January,  1879.  His  wife, 
tne  daughter  of  Geo.  Raphael  Ward,  is  also  well 
known  as  a  painter. 

WARD,  Francis  Swain,  an  English  landscape 
painter,  was  born  in  London  about  1750.  He  was 
brought  up  as  an  artist,  and  exhibited  with  the 
Society  of  Artists  from  1765  to  1773 ;  but  he 
entered  the  military  service  of  the  East  India 
Company,  and  afterwards  appears  to  have  pursued 
art  merely  as  a  pastime.  He  made  many  drawings 
of  Indian  temples  and  antiquities,  as  he  had  pre- 
viously done  of  the  castles  and  ruins  of  England. 
He  died  about  1805. 

WARD,  Qeorob  Raphael,  son  of  James  Ward, 
R.A.,  and  father-in-law  of  E.  M.  Ward,  R.A.,  was 
born  in  1798.  He  studied  art  under  his  father 
and  in  tlie  schools  of  the  Royal  Academy.  He  was 
at  one  time  much  employed  in  making  miniature 
copies  of  the  portraits  of  Sir  Thomas  Lawrence, 
but  he  is  better  known  by  his  engraved  portraitB. 
He  died  December  18,  1879. 
334 


WARD,  James,  animal  painter  and  engraver,, 
was  born  in  Thames  Street,  London,  on  the  23rd' 
of  October,  1769.  He  began  the  study  of  en- 
graving at  a  very  early  age,  working  under  John 
Raphael  Smith  for  a  time,  and  then  serving  an 
apprenticeship  of  nine  years  to  his  elder  brother, 
William  Ward.  He  soon  made  his  mark  as  an 
engraver,  and  having  attracted  attention  at  the 
exhibitions  of  1792  and  1793  with  some  clever 
pictures  of  rural  life,  he  was,  in  1794,  appointed 
painter  and  mezzotint  engraver  to  the  Prince  of 
Wales.  He  became  a  frequent  contributor  to  the 
exhibitions  of  the  Royal  Academy,  and  soon  won 
a  g^reat  reputation  as  a  painter  of  animals,  in  which 
line  he  was  much  assisted  by  previous  studies  of 
comparative  anatomy.  He  was  elected  an  A.R.A. 
in  1807,  and  a  full  Academician  in  1811.  In  1817 
he  gained  the  prize  offered  by  the  Directors  of  the 
British  Institution  for  an  '  Allegory  of  Waterloo,' 
but  in  attempting  to  realize  his  sketch  he  was 
not  so  successful.  In  his  later  years  he  made 
experiments  in  all  kinds  of  subjects,  and  continued 
to  exhibit  with  the  Academy  into  extreme  old  age. 
A  very  characteristic  portrait,  painted  by  himself 
at  the  age  of  seventy-nine,  is  in  the  National  Por- 
trait Gallery.  Ward  retired  to  Cheshunt  about 
1830,  and  died  there  November  23,  1859,  in  his 
ninety-first  year.     Works  : 

London.  Nat.  Gall.    Aldemey  Bull,  Cow,  and  Calf 

in  a  Meadow. 
„  „  Gordale  Scar,  Yorkshire. 

„  Harlech  Castle. 

„  ELgent'sParkinlSOT.  A  Cattle 

Piece. 
„   South  Kensington.    Donkey  and  Pigs. 

„  „  A  Chinese  Sow. 

„  „  Bulls  Fighting  in  a  Landscape  ; 

St.  Donatt's  Ca.stle,  Glamor- 
ganshire, in  the  background. 
Boa-constrictor  seizing  s  Horse  (the  horse,  a  portrait  of 

George  IV.'s  favourite,  Apollo). 
The  Council  of  Horses.     (Manchester  Gallery.) 
De  Tabley  Park.     {Oldham  Gallery.) 
Bull-Baiting. 

Among  Ward's  plates  the  best,  perhaps,  are: 

The  Centurion  Cornelius  ;  after  Sembrandt. 

Admiral  Duncan  ;  after  Uoppner. 

Daniel  in  the  Lions'  Den  ;  after  Eiihens. 

The  Flight  into  Egypt ;  after  F.  Bol. 

Descent  from  the  Cross ;  after  Dietrich. 

Diana  and  her  Nymphs  ;  after  liuhens. 

The  Alpine  Traveller ;  after  Northcote. 

Louisa ;  after  Hoppner. 

Thoughts  on  Matrimony  ;  after  the  same. 

The   Fruits  of   Early   Industry  aud   Economy;   after 

Morland. 
Smugglers  ;  after  the  s^me. 
Fisherman  ;  after  the  same. 
The  Rocking-Horse ;  after  himself. 
Mrs.  Billington  ;  after  Reynolds. 

(Nagler  makes  James  Ward  the  painter  and 
James  Ward  the  engraver  two  different  people.) 

WARD,  James.  This  extraordinary  and  very 
eccentric  person  is  better  known  as  a  pugilist  than 
as  an  artist,  but  he  deserves  attention  in  this 
dictionary,  as  he  produced  many  landscapes  and 
some  subject  pictures,  mainly  representing  prize- 
fights, which  were  of  unquestionable  merit.  He 
was  the  son  of  a  butcher  in  the  East  End  of 
London,  born  in  1800,  and  commenced  life  as  a 
cabin-boy  on  board  a  collier.  From  very  early 
days  he  was  notorious  for  his  powers  of  fighting, 
and  as  an  expert  boxer  became  as  a  young  man  a 


Q 

en 
W 


PAINTERS   AND   ENGRAVERS. 


popular  favourite.  Before  he  was  twenty-six  he 
was  accounted  Britisli  Champion,  and  he  continued 
to  be  accepted  in  that  position  until  1832.  Mean- 
time, he  had  become  a  publican  in  Liverpool,  and 
later  on  in  life  removed  to  London,  owning  in 
succession  various  inns  in  the  West  End  of  London. 
He  was  a  clever  musician,  able  to  perform  on 
several  instruments,  and  he  was  also  known  as  an 
admirable  shot,  but  through  all  his  tempestuous 
life  he  retained  a  great  love  for  pictures,  and  in 
addition  to  his  own  work  he  purchased  quite  a 
large  collection  of  English  landscapes.  His  most 
important  production  represented  a  prize-tight,  and 
was  exhibited  in  1860.  He  had  so  many  interests 
that  he  neglected  to  give  proper  attention  to  his 
business,  and  failed  no  less  than  three  times.  He 
eventually  retired  to  an  almshouse,  where  he  died 
in  1884. 

WARD,  Martin  Theodoke,  an  English  animal 
painter,  and  son  of  William  Ward,  A.E.,  was  born 
about  the  beginning  of  the  19th  century.  He  was  a 
pupil  of  Sir  Edwin  Landseer,  and  in  the  early  part 
of  his  career  practised  in  London.  About  1840  he 
settled  in  Yorkshire,  and  became  noted  for  his 
eccentricity.  His  works  appeared  at  intervals 
between  1819  and  1858  at  the  Royal  Academy, 
the  British  Institution,  and  the  Society  of  British 
Artists.  He  died  in  great  misery  at  York, 
February  13,  1874. 

WARD,  Samuel,  an  English  caricaturist  of  the 
early  part  of  the  17th  century.  He  lived  at 
Ipswich,  and  was  in  orders,  but  espousing  the 
Puritan  side,  he  was  successively  imprisoned  by 
the  Star  Chamber  and  Archbishop  Laud.  His  best 
known  caricatures  are  '  Spayne  and  Rome  De- 
feated'(1621),  and  'Woe  to  Drunkards'  (1635). 
He  died  in  1639. 

WARD,  William,  an  eminent  engraver  in  mezzo- 
tint, was  bom  in  London  in  1766.  He  was  the 
brother  of  James  Ward,  the  celebrated  animal 
painter,  and  father  of  W.  J.  and  M.  T.  Ward.  He 
served  an  apprenticeship  to  J.  R.  Smith,  and  after- 
wards became  his  assistant.  He  engraved  many  of 
the  pictures  of  his  brother-in-law,  George  Morland, 
and  these  plates  are  now  (1889)  in  great  request. 
He  also  engraved  numerous  portraits  after  Reynolds 
and  others,  and  a  few  historical  pictures.  In  1814 
he  was  elected  an  Associate  of  the  Royal  Academy, 
at  which  he  had  first  exhibited  in  1795,  and  was 
appointed  mezzotint  engraver  to  the  Prince  Regent 
and  the  Duke  of  York.  He  died  suddenly  in 
London,  December  21,  1826.  Among  his  plates 
we  may  name : 

The  Defeat  of  Mary  Stuart  at  Laugside  ;  after  Westall. 

The  Battle  of  Camperdown  ;  after  Copley. 

Review  of  the  Third  Dragoon  Guards ;  after  Beechey. 

David  and  Uriah  ;  after  F.  Bol. 

Joseph  presenting  his  Father  to  Pharaoh;  after  the 
same. 

Pilate  washing  his  hands ;  after  0.  Honthorst. 

Mary  Magdalen  reading ;  after  Correggio. 

The  Death  of  (Edipus  ;  after  Fuseli. 

The  Death  of  the  Elk  ;  after  Rubens. 

The  Livery  Stable  ;  after  James  Ward. 

The  Haymakers  ;  afttr  the  same. 

The  Country  Ale-House  ;  after  the  same. 

The  Gamesters  ;  after  W.  Peters. 

The  Birth  of  the  Heir;  after  W.  Bigg.  And  about 
twenty  plates  after  Morland, oi  which  'The  Visit  to 
the  Child  at  Nurse  '  is  perhaps  the  best. 

WARD,  William  James,  mezzotint  engraver, 
was  the  son  of  William  Ward,  and  was  born  about 
1800.  He  exhibited  a  talent  for  art  at  a  very 
early  age,  and  in  his  twelfth  year  obtained   the 


.silver  medal  of  the  Society  of  Arts  for  an  elaborate 
'drawing  of  the  'Madonna  della  Seggiola'  of 
Raphael.  His  style  was  robust,  and  more  adapted 
to  the  translation  of  Sir  Joshua  Reynolds  and  John 
Jackson  than  of  Sir  Thomas  Lawrence,  after  each 
of  whom  he  engraved.  He  died  in  1840.  Among 
his  plates  we  may  name : 

Admiral  Sir  P.  Durham  ;  after  Sir  F.  Grant. 

Prince  George  of  Cambridge ;  after  John  Lucas. 

Lady  Vernon  Harcourt ;  after  J.  Ja<kson. 

The  Infant  Hercules  (the  single  figures) ;  after  Sir  J. 

Reynolds. 
Earl  Grey,  K.G. ;  after  Jackson. 
George  Canning  ;  after  T.  Stetcartson. 
Thomas  Moore  ;  after  George  Mulvany. 
Garrick  in  the  Green  Room  ;  after  Hogarth. 
John  Jackson  ;  after  Jackson. 
Marriage  of  St.  Catherine  ;  after  Vandyck. 
Some  plates  in  the  '  Gems  of  Art.' 

WARE,  Isaac.  It  is  not  known  where  or  when 
this  celebrated  architect  was  born,  but  he  com- 
menced life  as  a  chimney-sweep's  boy,  and  is  said 
to  have  been  found  sketching  a  building  in 
Whitehall  with  such  accuracy  and  skill  that  Lord 
Burlington  was  persuaded  to  become  his  patron, 
and  to  send  him  to  Italy  for  study.  Little  is  known 
of  him  until  in  1728  he  is  found  as  Clerk  of  the 
Works  at  the  Tower  of  London,  and  in  1729 
occupj'ing  a  similar  position  with  regard  to 
Windsor  Castle.  Of  his  architectural  work  his 
best  known  perhaps  is  that  of  Chesterfield  House, 
London,  and  the  additions  he  made  to  Wrotham 
Court,  and  to  Chioksands  Priory.  He  was  a  skilful 
engraver,  and  himself  engraved  many  plates  for 
the  architectural  works  he  published.  As  a 
draughtsman  he  had  very  considerable  skill,  and 
drew  with  great  accuracy  in  pencil.  He  issued 
several  architectural  works,  and  died  in  1766. 

WARIN.     See  Varin. 

WARING,  John  B.  As  superintendent  for  the 
International  Exhibition  at  Kensington  in  1862, 
this  clever  architect  was  intimately  concerned  with 
artistic  work,  and  he  was  the  author  of  the  three 
volumes  issued  concerning  the  industrial  art  of 
that  Exhibition,  in  which  were  contained  very 
many  drawings  from  his  own  hand.  He  was  a 
Dorsetshire  man,  born  in  1823,  and  a  pupil  of 
Samuel  Jackson  the  water-colour  painter.  He 
studied  at  the  Royal  Academy,  and  obtained  a 
modal  at  the  Society  of  Arts,  and  after  spending 
a  couple  of  years  in  Italy,  he  settled  downas  an 
architect,  but,  having  no  need  to  devote  himself 
to  his  profession,  he  travelled  considerably,  making 
architectural  drawings  wherever  he  went.  For 
some  years  he  resided  in  Spain,  France,  and  Italy  ; 
upon  his  return  to  England  in  1867  took  up  the 
position  of  Superintendent  to  the  Art  Section  for 
the  Manchester  Exhibition,  following  it  by  similar 
work  at  South  Kensington  in  '62.  He  pulilished 
many  artistic  works,  mostly  illustrated  by  his  own 
hand,  and  he  may  be  accepted  as  the  person  who 
introduced  the  idea  of  richly-ilhistrated  catalogues 
for  art  exhibitions.  He  published  a  record  of  his 
own  life  in  two  volumes,  and  died  at  Hastings  in 
1875. 

WARNBERGER,  Simon,  landscape  painter,  was 
born  at  PuUach,  near  Munich,  in  1769,  and  was 
educated  at  the  Munich  Academy.  He  travelkd 
for  his  improvement  in  Austria  and  Italy,  and  was 
in  1824  elected  a  member  of  the  Munich  Academy. 
He  died  in  1847.  The  Berlin  National  Gallery 
contaiiis  a  'Beech  Wood'  by  him. 

WARNECK,  Alexander,   (or    Warnyk,)  waa 

335 


A  BIOGRAPHICAL  DICTIONARY   OF 


born  at  St.  Petersburg  about  1780,  and  instructed 
in  the  Academy  of  that  city,  and  afterwards  in 
Italy.  He  was  a  painter  of  genre  subjects  and 
portraits,  among  the  latter  of  which  were  those 
of  Count  Stroganoff,  President  Olenin,  and  himself. 
Karl  Eddard  Warneck,  probably  his  son,  was 
born  at  Dantzic  in  1803,  and  died  there  in  1858. 
He  practised  in  Russia,  visited  Italy,  and  was 
a  painter  of  historical  subjects  and  genre. 

WARNIR,  JoHANN,  a  native  of  Germany,  was 
born  about  the  year  1620.  He  is  chiefly  known 
as  a  copyist  of  prints  by  Albrecht  Diirer  and  other 
German  masters.  His  plates  are  neatly  executed, 
but  have  all  the  servility  of  imitation.  He  copied 
the  print  by  Diirer,  representing  '  St.  Jerome  seated 
before  a  Cruciiix,'  with  a  city  in  the  background, 
inscribing  it  Jh.  Wamir,  jE.  16,  1636,  and  the 
following  year  he  copied  the  'Twelve  Apostles,' 
after  the  same  master,  which  he  marked  i/A.  TT., 
^.  17.     He  is  supposed  to  have  died  very  young. 

WARNYK.     See  Warneck. 

WARREN,  Alfred  Wilmam,  an  English  en- 
graver, who  practised  in  London  in  the  19th 
century.  He  was  the  son  of  Charles  Turner 
Warren.  He  engraved  'The  Beggar's  Petition,' 
two  plates  of  English  kings  and  English  poets 
respectively,  and  'The  New  Coat,'  after  Wilkie, 
and  illustrations  for  the  following  books : 

Pope's  '  Essay  on  Man.' 

Smirke's  'Arabian  Kights.'   |   Coxe's  '  Social  Day.' 

WARREN,  Charles  Turner,  an  eminent  en- 
graver, was  bom  in  London,  June  4,  1767.  While 
young  his  occupation  was  the  engraving  of  rollers 
for  calico  printing,  and  in  after  life  he  was  chiefly 
employed  on  small  plates  for  book  illustration, 
especially  of  the  poetry  and  novels  published  by 
Bell,  Harrison,  Cadell,  and  others.  Little  is  known 
of  his  life,  but  he  was  the  first  to  succeed  as  an 
engraver  on  steel,  for  which  process  he  received 
a  gold  medal  from  the  Society  of  Arts.  He  en- 
graved several  of  the  beautiful  illustrations  to 
'  Don  Quixote,'  after  Smirke.  He  died  at  Wands- 
worth, April  21,  1823.  Among  his  other  plates  we 
may  name : 

I.ord  Castlereagh ;  after  Lawrence. 

Alexander  Pope. 

The  Broken  Jar ;  after  Wilkie.    (Coxe's  '  Social  Day.') 

Antony  and  Cleopatra ;  after  Tresham  (for  the  Boydell 

Gallery). 
Troilus  and  Cressida ;  after  T.  Kirk  (do.). 

WARREN,  Henet,  water-colour  painter,  was 
born  in  London,  September  24,  1794.  He  evinced 
an  early  taste  for  art,  but  for  a  while  was  almost 
equally  divided  between  painting,  sculpture,  and 
music.  He  first  entered  the  studio  of  Nollekens, 
the  sculptor,  where  he  had  John  Gibson  and 
Bonomi  as  his  companions.  In  1818,  however,  he 
gave  up  sculpture  for  painting,  and  entered  the 
schools  of  the  Royal  Academy.  His  first  picture, 
entitled  '  Love  among  the  Roses,'  appeared  in  1823, 
but  soon  afterwards  he  adopted  water-colour  in 
preference  to  oil,  and  in  1835  joined  the  New 
Society  of  Painters  in  Water-Colours.  He  was 
elected  President  in  1839 — a  post  he  resigned  in 
1873,  when  he  accepted  the  title  of  Honorary 
President;  this  he  held  until  his  death,  which 
occurred  in  London,  December  18,  1879.  He  was 
a  member  of  the  Royal  Commission  for  the  Paris 
Exhibition  of  1855,  and  took  a  leading  part  in  the 
Fine  Arts  section  of  the  1862  exhibition.  He 
published  an  antiquarian  work  on  the  river  Eavens- 

336 


bourne,  in  Kent,  illustrated  by  lithographic  views 
drawn  by  himself;  two  little  volumes,  entitled 
respectively  'Notes  upon  Notes'  and  'Hints  upon 
Tints,'  besides  many  elementary  essays  on  art. 
He  also  designed  series  of  illustrations  to  '  A 
Winter's  Tale,'  to  Lockhart's  'Spanish  Ballads,'  to 
Wordsworth's  '  Pastoral  Poems,'  and  to  Moore's 
'  Paradise  and  the  Peri.'  He  was  an  honorary 
member  of  the  Soci^t^  Belgique  des  AquarelUstes, 
and  of  the  Pennsylvanian  Academy  of  Arts. 

WARTHMULLER,  Robert,  German  painter; 
born,January  16,1859,at  Landsbergon  the  Warthe: 
studied  at  the  Berlin  Academy  with  Gussow,  and 
also  at  the  Munich  Academy.  In  1884  he  returned 
to  Berlin  and  worked  for  two  years  in  Knille's 
studio,  and  subsequently  studied  in  Paris  under 
Lefebvre.  He  then  succeeded  Seller  as  Professor 
at  the  Munich  Academy.  He  was  successful  as  a 
portrait  painter,  and  among  his  works  we  may 
mention :  '  Friedrich  der  Grosse  an  der  Leiche 
Schwerins,'  '  Eine  Bange  Nacht,'  '  Der  Kbnig  Ue- 
berall,'  '  Neckerei,'  '  Am  Gartenzaun,'  &c.  He 
obtained  a  second-class  medal  at  Munich  in  1894, 
and  he  died  at  Berlin,  June  25,  1895. 

WASER,  Anna,  (or  Wasser,)  was  bora  at 
Zurich  in  1679,  and  was  the  daughter  of  Rudolph 
Waser,  a  member  of  the  town-council.  When  she 
was  not  more  than  twelve  years  of  age  her  father 
placed  her  under  Joseph  Werner,  of  Berne,  one  of 
tiie  best  artists  in  Switzerland.  She  soon  rivalled 
Werner  himself  in  miniature,  and  her  reputation 
spreading  through  Germany,  there  was  scarcely  a 
court  in  the  empire  from  which  she  did  not  receive 
commissions.  Her  miniatures  also  were  sought  for 
in  London  and  Holland.  She  painted  pastoral 
subjects  and  flowers  as  well  as  portraits.  She  died 
in  1713. 

WASSEMBERG,  Jan  Abel,  was  born  at 
Groeningen  in  1689.  He  was  the  sou  of  an 
advocate,  who,  after  giving  hira  the  rudiments  of 
a  classical  education,  yielded  to  his  bent  towards 
art,  and  placed  him  under  one  Jan  van  Dieren. 
With  hira  Wassemberg  remained  until  he  was 
twenty-three  years  of  age,  when  he  went  to  Rotter- 
dam, where  he  formed  an  intimacy  with  Adriaan 
van  der  Werff.  He  afterwards  returned  to  Groe- 
ningen with  the  reputation  of  one  of  the  most 
promising  young  artists  of  his  time.  He  painted 
the  portrait  of  the  Prince  of  Orange,  with  that  of 
the  princess,  and  those  of  the  most  distinguished 
personages  of  the  court.  He  also  painted  small 
pictures  from  sacred  history,  in  the  style  of  Van 
der  Werfl'.  He  died  in  1750.  His  daughter, 
Elizabetha  Gertroida  Wassemberq,  painted  like 
her  father,  but  sometimes  approached  pretty  closely 
to  Gerard  Dou.  She  died  in  1782.  Wassemberg'g 
son,  Jan,  was  also  a  painter. 

WASSER.     See  Waser. 

WASSMANN,  Rudolf  Friedrich,  German 
painter  ;  born  at  Hamburg  in  1805  ;  studied  at 
Dresden  with  Naecke,  and  also  at  Munich.  At 
Rome  he  was  closely  associated  with  Overbeck. 
An  example  of  his  work  in  landscape,  'Aufziehendes 
Gewitter,'  is  in  the  Hamburg  Kunsthalle  ;  he  also 
painted  portraits,  and  his  autobiography  was 
published  at  Munich  in  1896,  though  his  death 
took  place  at  Meran  in  1865. 

WATELET,  Claude  Henri,  a  distinguished 
amateur  and  writer  on  art,  was  born  in  Paris  in 
1718.  His  father  was  receiver-general  of  the 
finances,  to  which  position  he  himself  succeeded. 
In  his  youth  he  united  the  study  of  art  with  that  of 


PAINTERS  AND  ENGRAVERS. 


belles  lettres,  and  travelled  through  Germany  to 
Italy,  passing  some  little  time  at  Rome.  After 
his  return  to  Paris  he  published,  in  1761,  his  poem 
on  the  'Art  of  Painting,'  embellished  with  plates 
from  the  designs  of  M.  Pierre,  etched  by  himself, 
and  finished  with  the  graver  by  L.  S.  Lempereur. 
He  was  the  principal  author  of  the  '  Dictionnaire 
des  Arts  de  Peinture,  Sculpture  et  Gravure,'  pub- 
lished in  1792,  with  additions  by  M.  Levesque. 
He  died  in  1786.  Watelet  may  be  ranked  among 
the  best  amateur  engravers.  His  plates  number 
nearly  two  hundred  ;  the  following  may  be  named  : 

Claude  Henri  Watelet ;  eDgraved  in  1753 ;  after  Cochin. 

Jean  le  Eond  d'AJembert,  of  the  French  Academy.   Do. 

P.  JoHot  de  Crebillon,  of  the  French  Academy.    Do. 

J.  P.  M.  Pierre,  Painter.     Do. 

Loui.s  de  Silvestre,  Painter.     Do. 

The  Count  de  Vence.    Do. 

A.  B.  J.  Turgot.     Do. 

Venus  nursing  Loves  ;  after  Rubens. 

A  Corps-de-Garde  of  Monkeys  ;  after  Teniers. 

A  Landscape,  with  Figures ;  after  K.  du  Jardin. 

A  large  Landscape  ;  after  J.  Both. 

A  pair  of  Views  of  Ruins  ;  after  Panini. 

WATELET,  Lonis  Btienne,  a  French  landscape 
painter  and  lithographer,  was  bom  in  Paris  in 
1780.  He  began  to  exhibit  at  the  Salon  in  1799, 
and  there  his  works  appeared  for  upwards  of  half 
a  century.  His  travels  extended  to  Belgium,  the 
Tyrol,  and  Italy,  and  afforded  many  subjects  for 
his  pictures.  He  died  in  1864.  There  are  by 
him: 

Fontmnebleau .  Palace.  Henri  IV.  and  Captain  Micbaud . 
Neuchatel.  Museum.     Landscape. 

Versailles.  Palace.    Eeception  of    Napoleon  I.  at 

Louisbourg.    1812. 

And  other  works  in  the  Museums  of  Amiens,  Aix, 
Bordeaux,  Montpellier,  and  Nlraes. 

WATERLO,  Anthonie,  (or  Waterloo,)  painter 
and  engraver,  was  bom  at  Lille,  in  1609  or  1610. 
Various  dates  have  been  given  for  his  birth,  but 
Mr.  Bredius  has  discovered  that  his  hetrotlial  took 
place  in  Amsterdam  in  16-10,  the  painter  being  at 
the  time  thirty  years  of  age.  He  was  married  a 
few  weeks  later  at  Zeveubergen.  He  seems  to 
have  divided  his  time  mostly  between  Amsterdam, 
Leeuwarden,  and  Utrecht,  paying  an  occasional 
visit  to  his  native  city.  He  had  a  chateau  near 
Utrecht,  where  Jan  Weenix  used  to  visit  him  for 
the  purpose  of  inserting  figures  in  his  landscapes. 
It  has  been  usually  asserted  that  he  died  at  Utrecht, 
in  the  Hospital  of  St.  Job,  in  1670,  but  it  is  now 
known  that  he  was  still  alive  in  1676,  and  living 
in  Leeuwarden.  His  landscapes  are  characterized 
by  the  most  extreme  simplicity.  They  represent 
the  entrance  into  a  forest ;  a  broken  road,  with  a 
few  trunks  of  trees  ;  a  solitary  cottage,  or  a  water- 
mill  ;  all  treated  with  truth  and  sincerity.  Land- 
scapes by  him  are  in  the  Amsterdam  and  Rotterdam 
Museums  and  the  Stuttgart  Gallery.  But  he  is 
best  known  as  an  engraver  and  etcher.  His  plates 
usually  represent  forest  subjects.  According  to 
Bartsch,  they  amount  to  one  hundred  and  thirty- 
six.  They  are  etched  with  spirit  and  facility,  and 
retouched  with  the  graver.  He  sometimes  marked 
his  plates  with  the  initials  A.  W. /.,  and  sometimes 

with  the  cipher    JVY-     The  drawings  of  Waterlo 

are  also  excellent ;  they  are  generally  in  black 
chalk  and  Indian  ink.  The  following  are  perhaps 
the  best  of  his  plates  : 

A  set   of   six   upright  Landscapes,  among  which  The 
Water-mill  is  the  chief. 

VOL.  Y.  Z 


A  set  of  six  Landscapes,  with  subjects  from  Mythology 
(Alpheus  and  Arethusa ;  Apollo  and  Daphne  ;  Mer- 
cury and  Argus ;  Pan  and  Syrinx  ;  the  Parting  of 
Venus  and  Adonis  ;  and  the  Death  of  Adonis). 

A  set  of  six  Landscapes,  with  subjects  from  the  Old 
Testament,  and  the  Angel  directing  Tobias. 

WATERSCHOODT,  Heinrich  van,  a  Dutch 
painter  of  the  18th  century.  He  practised  in 
Munich,  where  he  worked  in  a  sort  of  rivalry 
with  Beich  from  1744  to  1773,  and  painted  genre 
pictures,  flowers,  and  battle-pieces.  In  the  Augs- 
burg Gallery  there  is  a  '  Consecration  of  a  Village 
Church '  by  him. 

WATHEN,  James.  This  man  had  the  nickname 
of  "Jimmy  Sketch,"  as  he  was  an  exceedingly 
expert  sketcher,  and,  employing  his  leisure  in 
journeying  through  his  own  country,  the  Contii  ent, 
and  the  East,  he  worked  indefatigably,  filling 
hundreds  of  sketch-books  with  representations  of 
the  scenes  which  took  his  fancy.  He  was  born  at 
Hereford  about  the  middle  of  the  18th  century,  and 
was  for  some  years  a  commercial  traveller.  He 
then  became  a  glover,  and  was  successful  in 
business  at  Hereford,  and  speedily  able  to  retire. 
He  became  known  to  Lord  Byron  during  one  of 
his  visits  to  Italy,  and  kept  up  a  correspondence 
with  that  poet.  He  published  an  account  of  his 
travels  in  1814,  illustrated  by  his  own  sketches,  and 
he  died  at  Hereford  in  1828. 

WATHER,  Philipp,  painter  and  engraver,  was 
born  at  Muhlhausen  in  1798.  He  learnt  etching 
and  engraving  from  Reindel  at  Nuremburg,  and 
was  finally  known  best  as  a  worker  upon  steel. 
Ilia  early  productions,  however,  were  chiefly  views 
of  buildings  in  oil  and  water-colour.  His  most 
popular  plate  was  '  The  Baker  Giri,'  after  Kreul. 

WATMAN,  Henry,  an  engraver  of  landscapes, 
mentioned  by  Professor  Christ,  is  said  to  have 
marked  his  prints  with  an  H  and  a  IF  joined  into 
a  monogram. 

WATSON,  Caroline,  an  excellent  English  en- 
graver and  daughter  of  James  Watson,  was  born 
in  London  about  the  year  1760.  She  was  instructed 
in  the  art  by  her  father,  and  engraved  many 
subject  pictures  and  portraits,  both  in  mezzotint 
and  in  stipple.  In  1785  she  received  the  appoint- 
ment of  engraver  to  Queen  Caroline,  and  died  in 
Pimlico,  June  10,  1814.  Among  others  we  have 
the  following  prints  by  her : 

Prince  William  of  Gloucester ;  after  Reynolds. 

Lord  Malmesbury  ;  after  the  same. 

Mrs.  Stanhope  ;  after  the  same. 

Sk  Joshua  Keynolds ;  after  the  same. 

Earl  of  Bute ;  after  Gainsborough. 

Ozias  Humphry,  Painter  ;  after  the  same. 

Two  heads  of  Lady  Hamilton  ;  after  Roimiey. 

Mrs.  Drummond  and  Children  ;  after  .Shelley. 

Mrs.  Siddons,  as  the  Grecian  Daughter ;  after  Sherrif. 

Miss  Bover  ;  after  Hoppner. 

Benjamin  West,  P.E.A. ;  after  Gilbert  Stuart. 

William  Woollett ;  after  the  same. 

Sir  Robert  Boyd,  Governor  of  Gibraltar ;  after  the  same. 

Death  of  Cardmal  Beaufort ;  after  Sir  J.  Reynolds. 

Marriage  of  St.  Catharine  ;  after  Corregyio. 

WATSON,  George,  a  Scottish  portrait  painter, 
was  born  in  1767,  at  Overmains,  Bersvick.  His  first 
instruction  was  due  to  Alexander  Nasmyth,  but  he 
worked  for  two  years  with  Sir  Joshua  Reynolds. 
Settling  in  Edinburgh,  he  obtained  a  foremost 
place  in  the  Scottish  art  world.  From  1808  to 
1812  he  was  president  of  the  Associated  Artists, 
and  in  1830  he  took  a  leading  part  in  the  fusion 
of  the  Royal  Institution  with  the  Scottish  Academy, 
of  which  he  became  president  the  same  year.     His 

337 


A  BIOGRAPHICAL  DICTIONARY   OF 


■works  were  not  only  exhibited  in  Edinburgh  ;  from 
1808  to  1828  he  sent  forty-five  pictures  to  the  Lon- 
don Royal  Academy  and  to  the  British  Institution. 
He  died  in  Edinburgh,  August  24,  1837.  Worlis  : 
Edinburgh.      Nat.  Gall.     Portrait  of  himself. 

„  „  „  A.  Skirving. 

„  „  „  Benjamin  West. 

WATSON,  James,  mezzotint  engraver,  and 
brother  of  William  Watson  the  portrait-painter, 
was  born  in  Ireland  in  1740  (?).  He  exhibited  at 
Spring  Gardens  in  1775,  and  died  in  1790,  liaving 
been  for  years  a  resident  in  Little  Queen  Street, 
London.  He  was  the  father  of  Caroline  Watson. 
We  have  by  him  a  great  number  of  interesting 
plates,  among  which  are  the  following: 

Aune,  Duchess  of  Cumberland  ;  after  Eeynolds. 

Elizabeth,  Duchess  of  Buccleuch,  with  her  daughter. 
Vo. 

The  Duchess  of  Manchester,  with  her  son,  as  Diana 
and  Cupid.     Do. 

The  Countess  of  Carlisle.    Do. 

Sir  Jeflery  Amherst.      Do. 

Jemima,  Countess  Cornwallis.     Do. 

Eobert  Drummond,  Archbishop  of  York.     Do. 

Barbara,  Countess  of  Coventry.     Do. 

Sir  John  Cust,  Speaker  of  the  House  of  Commons.    Do. 

John,  Marquis  of  Granby.     Do. 

John  Hely  Hutchinson,  Secretary  for  Ireland.     Do. 

Dr.  Samuel  Joliuson.     Do. 

Earl  and  Countess  Pembroke,  with  their  Son.     Do. 

Vice-Admiral  Sir  George  Bridges  Rodney.     Do. 

Lady  Scarsdale,  with  her  Son.     Do. 

Isabella,  Countess  of  Sefton.     Do. 

Frances,  Marchioness  of  Tavistock.     Do. 

Miss  Price.    Do. 

Henry  Woodward,  Comedian.    Do. 

Mrs.  Abington,  as  Thalia.     Do. 

Paul  I'ontius,  Engraver ;  after  Van  Dyck. 

Doctor  Busby  ;  after  Rilei/. 

Charles,  Duke  of  Richmond  ;  after  Romney. 

The  Duchess  of  Leinster  ;  after  the  same. 

John,  Duke  of  Argyll ;  after  Gainsborough. 

Miss  Lascelles,  with  a  Greyhound  ;  after  Cotes. 

A  Madonna  ;  after  Reynolds. 

The  Children  iu  the  Wood  ;  after  the  same. 

Rubens  ami  his  Family  ;  after  J.  Jordaens. 

'  Lucinda  ' ;  after  Falconet. 

WATSON,  John,  a  Scotch  portrait  painter,  born 
in  1685.  He  was  taught  in  the  Trustees'  Academy, 
Edinburgh,  and  in  1715  emigrated  to  America. 
Settling  in  New  Jersey,  he  acquired  an  independ- 
ence by  the  practice  of  his  art.  He  died  in 
America,  August  22,  1768. 

WATSON,  John  Dawson,  was  born  in  1832  at 
Sedbergh,  Yorkshire.  His  talent  was  soon  apparent, 
and  he  left  home  in  1847  to  study  at  the  Manchester 
School  of  Art,  passing  to  the  Royal  Academy 
Schools  in  London  four  years  hiter.  His  first 
exhibited  work  was  'The  Wounded  Cavalier,'  at 
the  Manchester  Royal  Institution  in  1851.  His 
work  attracted  the  favourable  notice  of  George 
Routledge,  the  publisher,  and  he  designed  for  him 
a  well-known  series  of  illustrations  for  an  edition 
of 'The  Pilgrim's  Progress.'  He  settled  in  London 
in  1860,  was  elected  an  Associate  of  the  Society  of 
Painters  in  Water-Colour  in  1864,  and  became  a 
full  member  in  1869.  His  'Poisoned  Cup'  gained 
a  medal  at  the  Vienna  Exhibition  of  1873.  He 
exhibited  many  pictures  in  oil  at  the  Royal 
Academy,  mostly  figure  subjects  and  domestic 
genre,  and  also  many  water-colours  at  the  Old 
Society.  Between  1859  and  1892  he  exhibited 
372  works  at  London  Exhibitions,  and  several  of 
them  liave  been  engraved.  Among  his  best  oils 
may  be  mentioned:  'The  Parting,'  'The  Oil 
Clock,' '  Woman's  Work' ;  and  of  the  water-colours ; 

338 


'  A  Gentleman  of  the  Road,'  '  The  Cottage  Door,' 
'  The  Clandestine  Marriage,'  and  '  The  Duet.'  IIo 
was  a  good  colourist  and  draughtsman.  He  did 
many  illustrations  for  books  and  periodical  litera- 
ture, e.  3.  'Robinson  Crusoe,'  'The  Arabian  Nights,' 
and  in  this  department  his  facility  of  invention  imd 
capable  draughtsmanship  won  him  a  high  place 
(see  Gleeson  White's  '  English  Illustration  in  the 
Sixties').  In  1877  a  representative  collection  of 
his  works  was  exhibited  at  Manchester.  He  died 
at  Conway  in  1892.  J.  H.  W.  L. 

WATSON,  MusGRAVE  L.,  a  Cumberlandshire 
man,  born  near  Carlisle  in  1804.  His  early  in- 
terests were  in  carving  and  in  repoussS  work,  but 
at  his  parents'  desire  he  became  a  solicitor,  em- 
ploying, however,  all  his  spare  time  in  sketching. 
On  the  death  of  liis  father  he  was  able  to  rel.n- 
quish  the  profession  of  the  law,  for  which  he  had 
no  sympathy,  and  came  up  to  London,  and  studied 
at  the  schools  of  the  Royal  Academy.  Flaxnian 
advised  him  to  go  abroad,  and  he  spent  some  years 
in  Italy,  producing  while  there  some  water-colour 
drawings  of  unusually  high  merit.  On  his  return 
to  England  he  entered  Chantrey's  studio,  and  then 
after  a  while  set  up  for  himself  as  a  sculptor.  His 
work  in  that  branch  of  art  does  not  come  within 
the  scope  of  this  volume,  but  reference  must  be 
made  to  his  admirable  illustrations  for  Rogei-'s 
poem  called  '  Human  Life,'  to  his  bold  and  powerful 
cartoons  in  charcoal,  and  to  the  many  water-colours 
which  he  exhibited  at  the  Royal  Academy.  He 
died  in  London  in  1847,  and  was  buried  at 
Highgate. 

WATSON,  Thomas,  mezzotint  engraver,  was 
born  in  London  in  1743,  and  apprenticed  to  an  i  n- 
graver  on  plate.  He  worked  at  first  in  the  dot 
manner,  but  afterwards  became  very  successful  in 
mezzotint.  For  a  time  he  kept  a  printshop  in  Bond 
Street,  in  partnership  with  W.  Dickenson.  He 
exhibited  at  Spring  Gardens  in  1775,  and  died  at 
Bristol  in  1781.  Of  his  numerous  prints,  the 
following  are  among  the  most  esteemed  : 

The  Windsor  Beauties  ;  a  series  of  six,  after  Kneller. 

Lord  Apsley  and  his  Brother;  after  N.  Dance. 

Frances,  Countess  of  Jersey  ;  after  Gardner. 

Alderman   Sawbridge,  in   the   character   of    a   Roman 
senator ;  after  West. 

Henry  Frederick,  Duke  of  Cumberland  ;  after  Reynolds. 

Lady  Bamfylde.     Do. 

Lady  Melbourne.     Do. 

James  Hay,  Earl  of  Errol.     Do. 

Lady  Broughton.     Do. 

Dr.  Newton,  Bishop  of  Bristol.     Do. 

Warren  Hastings.     Do. 

Mrs.  Sheridan,  as  St.  Cecilia.     Do. 

Georgina,  Countess  Spencer.     Do. 

Lady  Townshend,  and  her  two  Sisters.     Do. 

Mrs.  Crewe.    Do. 

Jupiter  and  Mercury,  with  Philemon  and  Baucis ;  after 
Rembrandt. 

The  Virgin  and  Child,  with  St.  John  ;  after  Corregyio. 

The  Death  of  Mark  Antony ;  after  If.  Dance. 
WATSON,  William,  a  portrait  painter,  prac- 
tised in  Dublin  in  the  last  quarter  of  the  18tU 
century.  He  was  better  known  as  a  flute-player, 
however,  than  as  an  artist.  His  wife  painted 
flowers  and  fruit,  and  in  1771  exhibited  once 
with  the  Free  Society. 

WATSON,  W.  Smellie,  a  Scottish  portrait  painter, 
was  born  in  Edinburgh  in  1796.  He  was  a  pupil 
of  his  father,  the  first  President  of  the  Scottish 
Academy,  and  also  studied  in  the  Trustees' 
Academy.  Coming  to  London  in  1815,  he  worked 
for  five  years  in  the    schools  of  the  Royal  Aca- 


<; 


X 


N; 


.    St 


"J.   A.  WATTE AU 


\Collection  La  dizc,   The  Louvre 


LE  GRAND  GILLES 


PAINTERS  AND   ENGRAVERS. 


demy,  and  for  one  year  with  David  Will^ie.  He 
settled  in  Edinburgh,  where  he  obtained  a  good 
practice  as  a  portrait  painter,  and  was  one  of 
the  original  members  of  the  Koyal  Scottish 
Academy.  His  fancy  portraits,  such  as  'The 
Ornithologist,'  'A  Conchologist,'  and  'The 
Student ' — the  latter  in  the  Scottish  National  Gal- 
lery— obtained  him  a  very  considerable  reputation. 
He  died  on  the  6th  November,  1874.  An  enthusi- 
astic naturalist,  he  bequeathed  his  collection  of 
birds  to  the  Edinburgh  University. 

WATT,  James  Henry,  engraver,  was  bom  in 
London  in  1799.  He  was  a  pupil  of  Charles  Heath, 
but  showed  much  originality,  and  won  distinction 
as  a  line-engraver,  in  a  style  of  his  own.  He 
always  worked  on  copper,  which  he  managed 
with  great  sympathy  and  power.  He  died  in 
London  in  June  1867.     Works : 

Procession  of  the  Dunmow  Flitch  ;  aftir  Stothard. 

Christ  blessing  little  Children  ;  aftei-  Eastlake. 

The  Highland  Drover's  Departure ;  after  Landseer. 

WATTEAU,  Francois  Louis  JosErn,  painter, 
■was  born  at  Valenciennes,  18th  of  August,  1758. 
He  was  the  son  of  Louis  Joseph  Watteau,  and  the 
pupil  of  his  father  and  of  Diiraraeau,  at  Lille. 
He  also  studied  in  Paris,  at  the  Ecole  des  Beaux 
Arts.  In  1785  he  returned  to  Lille,  as  assistant  to 
his  father  at  the  Academy.  In  1798  he  became 
Director  of  the  Academy,  and  it  is  to  him  that 
Lille  owes  the  first  foundation  to  her  fine  museum. 
He  died  there  on  the  1st  of  December,  1813. 
He  was  also  an  excellent  draughtsman.  The 
Museums  of  Lille  and  Valenciennes  have  examples 
of  his  work.  He  painted  battle  scenes  and  gro- 
tesques. He  also  entered  into  the  manner  of  his 
kinsman — the  great  Watteau — and  did  some 
charming  '  Conversations.'  One  of  these  is  a 
very  beautiful  composition  ;  it  is  called  'A  Minuet 
under  the  Oak.'  It  was  painted  in  1802,  and  is  at 
Valenciennes.  E.  S, 

WATTEAU,  Jean  Antoine,  son  of  a  plumber, 
was  born  at  Valenciennes  on  the  10th  of  October, 
1684.  Delicacy  of  constitution  interfered  much 
with  his  early  education.  He  spent  much  of  his 
time  in  the  open  air  drawing  grotesques,  al- 
though his  father,  recognizing  the  merit  of  these 
boyish  attempts,  allowed  him  to  take  lessons  in 
draughtsmanship.  Valenciennes  was  an  art  city, 
with  its  branch  of  the  Guild  of  St.  Luke.  The 
master,  M.  J.  A.  G^rin,  was  a  friend  of  M. 
Watteau,  who,  directly  he  saw  Antoine's  work, 
took  him  as  a  pupil-apprentice,  and  set  him  to 
draw  in  the  churches  and  picture  galleries.  Genre 
subjects  took  the  young  lad's  fancy,  especially 
the  Italian  comedians,  and  the  latter  remained  a 
favourite  study  throughout  his  whole  career.  In 
1700  he  finished  his  first  considerable  compo- 
sition— he  called  it '  La  Vraie  Gaiety  '—it  represents 
peasants  dancing  at  a  tavern  door.  Want  of  sym- 
pathy at  home,  and  lack  of  means,  led  him,  in 
1702,  to  leave  home,  and  tramp  all  the  way  to 
Paris.  Friendless  and  penniless,  the  lad  nearly 
starved  to  death.  One  day  wandering,  by  chance, 
by  the  river  side,  his  eye  caught  sight  of  a  sign- 
board :  "  Louis  Metayer,  Decorateur-Peintre." 
He  entered  the  shop  and  asked  for  a  job,  and, 
being  accepted,  he  was  employed  chiefly  in  paint- 
ing figures  of  St.  Nicholas.  His  pay  for  such  work 
was  three  livres  weekly  and  his  daily  soup.  Weary 
and  disgusted,  he  soon  left  this  uncongenial  situa- 
tion, and,  being  introduced  by  a  chance  acquaint- 
ance— a  young  Dutch  student,  called  Spoede — to 

Z  2 


M.  C.  Gillot,  he  entered  his  studio  in  1703.  Gillot 
was  a  fashionable  painter  of  decorative  panels  and 
arabesques,  and  from  him  Watteau  learned  a  good 
deal.  He  was  accustomed,  too,  to  spend  much  of 
his  spare  time  in  the  streets  and  suburbs  of  the 
city,  with  his  pencil  and  his  book  in  hand, 
sketching  anything  which  struck  his  fancy.  Gillot 
was  working  at  the  Grand  Opera,  and  there  the 
youth  was  thrown  much  info  the  sociefj'  of  actors 
and  actresses.  One  pretty  girl  fascinated  him, 
and  La  Montague's  sweet  face  peeped  out  of  all 
his  master's  decorative  borders.  He  studied  much 
under  his  master's  direction  in  the  great  picture 
galleries,  and  there  he  fell  under  the  spell  of 
Rubens,  Titian,  Veronese,  and  Tintoretto.  At 
the  end  of  five  years  he  left  his  master,  but,  when 
any  one  asked  him  why.  Count  de  C'aylus,  his 
friend,  says — "he  frowned  and  refused  to  answer." 
He  became  the  assistant  of  M.  C.  Audran — Keeper 
of  the  Luxembourg — one  of  the  first  decorative 
artists  of  the  day  ;  and  now  came  his  opportunity 
for  forming  his  style  and  making  his  mark.  He 
had  the  run  of  the  Luxembourg  gardens,  and  was 
a  daily  spectator  of  the  gay  scenes  enacted  on  the 
lawns  and  beneath  the  trees.  Hence  sprang  the 
first  inspiration  of  his  delicious  '  Conversations.' 
In  1709  Watteau  entered  as  a  pupil  at  the  Aca- 
demy, but  he  only  secured  the  second  prize  of  his 
year.  M.  Audran  treated  him  well,  but  when,  a 
few  months  later,  the  young  man  put  a  small 
military  picture,  entitled  '  Le  Depart,'  before  him, 
he  dissembled  the  admiration  he  could  not  help 
feeling,  and  tried  to  dissuade  his  assistant  from 
further  attempts  at  creative  art.  Watteau,  how- 
ever, understood  his  motives,  and,  in  order  to 
regain  his  liberty,  announced  his  intention  to  visit 
his  parents.  Funds  for  the  journey  were  obtained 
by  the  sale  of  the  picture  to  M.  Sirois,  a  well- 
known  dealer,  who  gave  him  an  order  for  a 
pendant.  Both  these  pictures  were  engraved  by 
Cochin.  Watteau's  restless  nature  did  not  allow 
him  to  stay  long  at  Valenciennes.  He  returned  to 
Paris,  and  had  the  good  fortune  to  attract  the 
attention  of  M.  de  Crozat,  the  famous  collector. 
M.  de  Crozat  gave  him  several  commissions,  and 
ma<le  him  free  of  his  house  and  his  splendid  gallery 
of  Italian  and  Flemish  pictures.  M.  de  Crozat's 
house  was  the  rendezvous  of  artists,  and  Watteau 
was  thus  thrown  into  contact  with  many  well- 
known  men — painters  and  connoisseurs.  Whilst 
copying  the  Correggios,  Giorgiones,  Titians, 
and  other  masterpieces  in  M.  de  Crozat's  gallery, 
and  sharing  in  his  patron's  hospitable  entertain- 
ments, both  in  Paris  and  at  Montmorency, 
Watteau's  style  developed  quickly.  M.  de  Juli- 
enne, a  noted  collector  and  a  patron  of  artists,  also 
made  friends  with  Watteau — a  friendship  which 
lasted  to  the  end — and  assisted  him  in  every  way. 
He  worked  hard  and  with  good  success.  Among 
works  of  this  period  may  be  placed  '  Les  Charmes  de 
la  Vie,'  in  the  Wallace  Collection,  and  a  series  of 
'  Les  Noces,'  one  of  which  is  in  the  Soane  Museum, 
and  a  whole  suite  of  '  Conversations,'  and  '  Fetes 
Galantes.'  His  health,  never  very  r(.bust,  began  to 
fail  ;  and  he  had  yearnings  to  visit  Italy  and  her 
art  treasures,  but  his  funds  were  insufficient.  M. 
Gersaint — M.  Sirois'  son-in-law — famous  for  his 
invaluable  'Catalogue  Raisonn^,'  persuaded  him: 
to  apply  for  a  Pension  du  Roi.  This  he  did,  and 
he  also  hung  up  the  two  small  pictures  already 
mentioned  in  one  of  the  corridors  of  the  Academy, 
where  the   Academicians   could    not   help   seeing 

339 


A  BIOGRAPHICAL  DICTIONARY  OF 


them.     One  of  their  number,  De  la  Fosse,  sent  for 
Watteau,  and  reproaching  liim  for  distrust  of  liis 
powers,  declared  that  the  Academy  would  always 
honour  such  talent  as  his.    Watteau  was  astonished 
and  delighted.     He  ahandoned    liis   journey,  and 
was  shortly  after  received  at  the  Academy  under 
the  title  of  "  Peintre  des  Fetes  Galantes."     This 
event  took  place  on  the  28th  of  August,  1717.    By  a 
very  unusual  act  of  grace,  the  subject  of  his  reception 
picture  was  left  to  his  own  choice.     Tliis  was  forth- 
coming under  the  designation  of  'L'Embarquement 
pour  I'lle  de  Cythfere.'     This  chef-d'ceuwe  made  a 
great   sensation ;    it   was  nothing   less   than    the 
creation    of  a   new   world   of    beauty   and    love. 
Success  made  no  change  in  his  habits.     He  still 
studied   hard,  and   failed   to    appreciate  his  own 
works.     He  constantly  erased  and  repainted,  and 
it  was  only  by  decisive  measures  that  those  who 
bought   his   pictures   could   get  them  out  of  his 
hands.     In  1719  he  paid  a  visit  to  England,  partly 
to  consult  Dr.  Mead,  for  whom  he   painted  '  Les 
Com^diens  Italiens' and  '  LAmour  Paisible.'     He 
returned  to  Paris  the  next  year,  as  the  climate  of 
London   did   not   agree    with   him.      In   1721    he 
painted  a  sign  for  the  picture  shop  of  his  friend 
Gersaint,  wliich  had  a  great  success.     After  living 
for  some  time  in  Gersaint' s  house,  and  finding  the 
weakness  of  his  chest  increase,  the  painter  made 
efforts   to   discover   a   country   retreat,  where  lie 
could  breathe  a  purer  air.     With  the  help  of  his 
friend,  L'Abb^  Haranger,  he  obtained  the  loan  of 
a    house   at    Nogent-sur-Marne,    near   Paris,    and 
there  he  died  soon  after  his  installation,  on  the 
18th  of  July,   1721.     He  left  a  large  number  of 
sketches,  which,  together  with  the  proceeds  of  the 
sale  of  several  pictures,  were  sent  by  his  friends — 
Gersaint,  Haranger,  de  Julienne,    and  Henin — to 
his  parents  at  Valenciennes.     M.  de  Julienne  caused 
the  greater  part  of  his  works  to  be  collected,  and 
engraved  in  a  colossal  Becueil,  published  in  1734, 
under  the  title  of  '  L'CEuvre  d'Antoine  Watteau, 
Peintre   du   Roy,'  &c.       Watteau   was   the   most 
brilliant   and   most   original  draughtsman   of    the 
eighteenth  century — his  piquancy  of  pencilling  has 
never  been  surpassed.     His  compositions  in  oil  are 
remarkable  for  illumination  and  delicious  blending 
of  colours.     Like  many  painters,  Watteau  was  no 
mean  adept  in  the  art  of  engraving.     He,  Oudry, 
and     Fragonard,    occupy    the     highest    rank    as 
painter-etchers    of    their    century.       His     plates 
are  marked  "  W.  C,"  "  W.  et  C.  "  (Watteau  and 
Caylus),  and  "  W.  de  J.  "  (Watteau  and  de  Juli- 
enne), and  "W."    or  "V."  simply.      Unhappily, 
he  rarely  signed  his  oil  pictures.     The  following 
is   a   list   of  Watteau's  pictures  in  the  principal 
public  Galleries: 


Brussels.   Palais  S Arem- 


Amsterdara.         Museum. 
Angers.  Ifuseum 

Berlin.         Altes  Schloss, 


The  Italian  Comedians. 
A  Country  Pic-nic. 
The  Embarkment  for  Cythera. 
1717.     {Chief  masterpiece.) 
„  Gersaint's  Shop-sign  {in  two 

"  parts).    1719. 

„  Tfat.  Museum.     The  Italian  Comedians. 

,,  La  Collation. 

„  Dance    near  a    Garden    Pa- 

vilion. 
Besancon.  Sluseum.     A  Minuet. 

,,         The  Game  of  Four  Corners. 
Bordeaus.  Mufcum.     Pic-nic  in  a  Garden. 

,  ,,  A  Country  Fdte. 

Brunswick.  Grand  Ducal  1  ^  guitarist. 
Museum,  j 
„  A  Music  Party. 

340 


Cambridge. 

Cassel. 

Chantilly. 


Dresden.     Boyal  Gallery. 


Briihl  Collectimi. 


Edinburgh.  Aai.  Gallery 


11^'  ]  Village  Bridal. 
„  A  Country  Fdte. 

Fitzwilliam  \  ^^^  Conversations. 
Museum,  j 
Museum.     Garden  Pleasures. 

,,  A  Conversation, 

Musee  de  )  ^j^^  gerenader. 
Conde.  J 

„  Love  di.sarmed. 

„  A  Country  F4te. 

„  L'Aimante  Inqui^te. 

Country  Pleasures. 
Lovers — with  a  Venus  Statue. 

{A  masterpiece.) 
A  Pic-nic  in  the  open. 
The  Holy  Family. 
An  Embarrassing  Proposal. 
The  Doctor. 
A  Venetian  FSte. 
The  Bird  nester. 
Pic-nic  in  a  Garden. 


1719. 


„         Soane  Museum. 
„      Dulwich  Gallery 

Madrid.    Prado  3fuseum. 


Munich. 


Nanterre. 
Nantes. 


Pinakothek. 
King's  Gallery. 
Museum. 
Museum. 


Orleans. 
Paris. 


Lou  rre 


Florence,     llffizi  Gallery. 
Foutaiuebleau.  Gallery  of]  Tig^j.  jjunt 
Pictures,  j      ^ 
,,  „  Innocent  Pleasures. 

„  „  The  Music  Lesson. 

Glasgow.  Gallery.     The  Encampment. 

^,  ,,  Breaking  up  the  Camp. 

London.  irallace  }  Country  Pleasures. 

Collection,  j  •" 

„  Les  Champs  Elysees. 

„  Return  from  Hunting. 

"  „  The  Music  Party. 

^,  The  Music  Lesson. 

'\  „  The  Italian  Comedians. 

„  The  Fountain. 

"  „  The  Toilette. 

Gilles  and  his  Family. 
The  Village  Bridal. 
Ball  in  a  Colonnade. 
Pic-nic  in  a  Wood. 
The  Village  Bridal.     1714. 
Garden  of  Saint  Cloud.  1714. 
Two  Conversations. 
Pic-nic  in  a  Park. 
A  Feast  of  Bacchus. 
The  Italian  Comedians. 
Soldiers  on  the  Mart-'h. 
The  French  Comedians. 
The  Monkey  Sculptor  )  ^       -^ 
The  Monkey  Painter  J     ^ 
Embarkation     for     Cythera. 
1717.     (Reception picture  at 
the  Academie.) 
Gilles.     ('  Le  Grand  Oilles.') 
'  L'Indiflferent.' 
La  Finette. 
Figiwes  in  a  Park. 
The  Judgment  of  Paris. 
'  Le  Faux  Pas.' 
Autumn. 

Jupiter  and  Antiope. 
The  Minuet. 

Savoyard,  with  a  marmot. 
The  Guitar  Player. 
The  Fatigues  of  War.     1719. 
The  Pleasures  of  War.    1719. 
L' Amour  Paisible.     1719. 
The  Music  Lesson. 
The  Dance — '  Iris.' 
The  Shepherds. 
The  Dance  near  a  Pavilion. 
The  French  Comedians. 
The  Village  Bridal.     1715. 
„  The  Concert. 

„  Italian  Pic-nic. 

,,  The  Lute  Player. 

Museum.     A  Guitarist. 
Grand  Ducal )  ^^^  ^j^j^  ^  Parasol. 
Gallery,  j 

■^''"''""'' I  The  Holy  Virgin. 
luuseum.  j  jo 


Louvre  {La  Caze). 


Petersburg.      Hermitage. 


Potsdam.     Neues  Palais. 


Sans-Souci. 


Prague. 

Rouen. 
Schwerin. 

Stockholm. 


J.  A.  WATTEAU 


\A^tJiioual  Museum,  S/oi'kho!i/i 


STUDIES  OF  A  NEGRO'S  HEAD 


PAINTERS  AND  ENGRAVERS. 


Troyes. 

Museum. 

A  Country  Scene. 

Valenciennes. 

Museum. 
1* 

A  Conversation. 
Portrait  of  M.  Pater 

Vienna. 

Belvedere. 

A  Guitarist. 

,, 

Albertina, 

The  Pilgrims. 

19 

Portrait  of  T'Sao. 
La  Coquette. 

Watteau  etched  the  following  plates: 

The  Italian  Comedians  (two). 
*'  Qu'ay  je  fait  assassins  maudits." 
Venus  wounded  by  love. 
Badinage  de  Gardens. 
A  set  of  '  Habits  k  la  Mode.' 
A  set  of  French  Comic  Figures. 

Drawings,  studies,  &c.,  abound  in  Paris,  London 
(British  Museum),  Berlin,  and  other  public  and 
private  collections,  done  either  in  sanguine,  or 
in  three  crayons.  E.  S. 

WATTEAU,  LoDis  Joseph,  painter,  was  born 
at  Valenciennes,  April  10,  1731.  In  1755  he 
settled  at  Lille,  where  he  became  a  professor  at 
the  Academy.  In  this  capacity  he  attempted 
to  introduce  the  study  from  the  nude  model,  and 
lost  his  appointment,  but  was  afterwards  reinstated. 
In  1795  he  was  employed  to  make  inventories  of 
works  of  art  abandoned  by  the  Emigre's  or  in  con- 
vents. He  died  at  Lille,  August  18,  1798.  The 
Museums  of  Valenciennes  and  Lille  possess  a 
number  of  his  pictures,  which  have  mostly  to  do 
with  the  operations  of  war.  He  also  painted 
landscapes  and  a  few  altar-pieces.  E.  S. 

WATTIER,  Charles  Emile,  painter  and  litho- 
grapher, was  born  in  Paris,  November  17,  1800. 
He  was  a  pupil  of  Gros,  and  exhibited  at  the  Salon 
from  1831  to  1868.  His  pictures  were  mostly 
genre  and  history  of  the  less  heroic  kind.  A  water- 
colour  by  him  is  in  the  Museum  at  Bagnferes-de- 
Bigorre.  He  died  in  the  Hopital  de  la  Cliarit^,  in 
Paris,  November  22,  1868. 

WATTIER,  Edouard,  a  French  painter  and 
lithographer,  was  born  at  Lille  in  1793,  and  studied 
under  Baron  Gros.  Some  of  the  lithographs  in  the 
Galerie  de  la  Duchesse  de  Berry  and  in  the 
Galerie  du  Palais  Royal  were  executed  by  him. 

WATTS,  George  Frederick  (1817  -  1904), 
painter  and  sculptor,  was  born  in  London,  Febru- 
ary 23,  1817.  His  was  a  Herefordshire  family  of 
Welsh  extraction ;  his  grandfather  and  fither  both 
had  dwelt  and  worked  in  Hereford.  His  father, 
George  Watts,  was  a  man  of  education  and  high 
intelligence,  but,  unpractical  in  the  ways  of  the 
world,  he  was  reduced  to  straitened  circum- 
stances on  his  arrival  in  the  metropolis.  His  son 
from  his  earliest  year  suffered  from  ill-health,  and, 
owing  to  the  frequency  and  violence  of  headache, 
he  was  precluded  from  ordinary  schooling.  His 
mind,  nevertheless,  was  so  acute,  his  memory  so 
extraordinarily  retentive,  that  nothing  that  he  saw, 
nothing  that  he  read  in  the  intervals  of  his  attacks, 
escaped  him,  while  his  natural  taste  and  earnest- 
ness of  purpose  led  him  to  a  system  of  self- 
education  which  could  scarcely  have  been  bettered. 
His  early  sketches,  drawings,  and  water-colours 
(of  the  last-mentioned  he  produced  but  few,  and 
those  only  at  the  beginning  of  his  career)  reveal 
not  only  precocity,  but  a  natural  instinct  for  form 
and  anatomy,  as  well  as  for  colour  and  imagina- 
tion, which  others,  when  they  acquire  them  at  all, 
usually  obtain  only  by  dint  of  long  study  and 
application.  This  predisposition  inclined  the  father 
to  encourage  his  son  to  adopt  art  as  a  profession, 
and  in  the  year  1835  Watts  entered  the  schools  of 


the  Royal  Academy  nominally  in  order  to  learn  to 
draw.  But  at  that  time  little  instruction,  properly 
so  called,  was  to  be  obtained  in  the  schools,  and 
Watts  left  them  after  a  few  weeks  and  frequented 
the  studio  of  William  Behnes  the  sculptor.  Here 
he  occupied  his  time  mainly  in  examining  the 
plaster-casts  of  the  Elgin  marbles  and  in  conversa- 
tion with  Behnes'  brother.  This  man  entertained 
the  deepest  veneration  for  Greek  art,  and  taught 
Watts  to  appreciate  the  beauties  and  the  force  of 
the  Phidian  School,  and  sowed  in  him  the  seed 
that  blossomed  throughout  his  life.  From  him  he 
derived  encouragement  in  the  principles  that 
dominated  him  thenceforward,  his  view  of  "the 
higher  claims  of  art,"  and  the  passion  for  nobility 
of  style.  Watts  had  already  been  applying  him- 
self to  oil-painting.  He  was  but  sixteen  when  a 
miniature  painter  told  him,  as  his  first  and  only 
lesson  in  painting,  the  names  of  the  colours  neces- 
sary for  the  copying  of  a  female  htad  by  Sir 
Peter  Lely  ;  the  result  of  this  tirst  attempt  was 
admirable,  and  from  that  time  he  made  rapid  pro- 
gress. He  painted  portraits,  including  his  own  in 
1834,  of  W.  J.  Weale  (1835)  and  his  father  (1836) 
—  the  last-named  showing  qualities  in  flesh- 
painting  of  remarkable  merit — and  in  1837  he 
exhibited  for  the  first  time  in  the  Koyal  Academy. 
His  contributions  consisted  of  two  portraits  of 
young  ladies,  and  'A  Wounded  Heron,'  revealing 
unexpected  mastery  of  the  brusli,  reticence  in 
handling,  and  an  intuitive  sense  of  coKiur,  besides 
an  intelligent  attention  to  detail  that  seemed  to 
herald  the  coming  of  the  Pre-Raphaelite  Brother- 
hood. Watts  continued  to  paint  small  subject 
pictures  and  portraits,  and  in  1840  produced  the 
likeness  of  Mrs.  Constantine  lonides,  which 
attracted  considerable  attention  when  it  was  ex- 
hibited at  the  Royal  Academy  two  years  later. 
This  was  the  second  work  he  had  painted  for  Mr. 
lonides,  who  became  his  earliest  patron,  and  re- 
mained to  the  end  one  of  his  staunch  friends  and 
chief  admirers.  His  adnnration  was  shared  by 
other  members  of  the  family,  of  whom,  from  first 
to  last,  Watts  painted  or  drew  no  fewer  than  five 
generations. 

In  the  year  1841  Watts  made  his  first  appear- 
ance at  the  British  Institute  with  a  large  work, 
'  Vertumnus  and  Pomona,'  and  in  the  same  year  was 
engaged  on  a  portrait  group  of  the  children  of  the 
first  Earl  of  Gainsborough,  and  upon  two  pictures, 
'How  should  I  your  True  Love  know?'  and 
'  Blondel.'  By  this  time  his  manner  was  marked  ; 
fine  drawing,  and  a  grave  aiid  even  elevated 
sense  of  style  dignified  all  he  touched,  and  there 
was  an  air  of  nobility  that  inspired  his  more 
imaginative  designs.  One  of  these  was  the 
picture,  now  at  the  Briary,  Freshwater, '  Guiderius, 
Arviragus,  and  Belarius,'  which  was  exhibited  at 
the  British  Institution  in  1842.  A  water-colour  of 
it  is  also  in  existence. 

At  this  time  the  decoration  of  the  new  Palace  of 
Westminster  was  being  considered,  and  the  Roj'al 
Comnussioners  invited  artists  to  submit  cartoons 
for  which  numerous  prizes  were  offered.  One  of 
tlie  three  first  prizes  was  gained  by  Watts  with  a 
large  composition  of  '  Caractacus  led  in  Triumph 
through  the  Streets  of  Rome,'  a  fine  design  in 
which  the  figures  were  treated  in  the  heroic 
manner.  With  the  £300  thus  gained  the  artist 
decided  to  leave  for  Italy,  and  soon  after  arriving 
in  Florence  he  presented  his  letter  of  introduction 
to  Lord  Holland,  British  Minister  to  the  Court  of 

341 


A  BIOGRAPHICAL  DICTIONARY  OF 


Florence.  He  was  invited  to  take  up  his  residence 
with  the  Minister,  and  there  at  the  Casa  Ferroni, 
or  at  his  country  house,  the  Villa  Careggi,  Watts 
lived  during  the  next  four  years.  In  the  same 
year  he  painted  the  portrait  of  Mary  Augusta,  Lady 
Holland  (exhibited  in  the  Royal  Academy  in  1848 
and  now  belonging  to  the  King),  and  at  once 
began  a  series  of  portraits  of  tlie  leading  men  and 
ladies  of  Europe  who  passed  through  Florence  and 
visited  his  host.  He  also  made  his  first  attempt  at 
fresco-painting,  or,  more  truly  expressed,  at  paint- 
ing in  tempera  on  the  plaster  wall,  and  liis  great 
wall-picture  of  the  'Drowning  of  the  Doctor' is 
still  to  be  seen  on  tlie  walls  of  the  Careggi  villa. 
During  this  period  he  copied  no  old  masters,  but 
he  studied  tliera  closely,  with  the  result  that  the 
example  of  the  Venetians,  more  particuhirlj'  of 
Titian,  influenced  his  work  to  the  end.  This  in- 
fluence may  be  seen  in  the  great  picture  of 
'  Honoria '  in  the  National  Gallery  of  British  Art, 
now  called  '  A  Story  from  Boccaccio ' —  29  feet 
5  inches  wide,  and  11  fe«t  10  inclies  high — 
evincing  power  and  breadth,  elaborate  in  com- 
position, but  extremely  simple  in  treatment  and 
harmony  of  colour.  Tliis  work  was  painted  on 
the  artist's  return  to  London  in  1847,  wljither  he 
had  come  consequent  on  his  engaging  in  the  third 
Westminster  competition.  lie  was  again  a  winner, 
obtaining  a  first  jirize  of  £500  with  his  picture  of 
'  King  Alfred  inciting  the  Saxons  to  meet  and 
resist  tlie  Danes  at  Sea.'  (The  commission  ultimately 
awarded  to  him  was  a  wall-painting,  'St.  George 
overcomes  the  Dragon,'  a  work  begun  in  1848  and 
completed  in  1853,  which  has  since  perished  and 
has  been  removed.)  This  picture  was  purchased 
for  the  Houses  of  Parliament  ;  it  is  in  somewhat 
poor  condition,  owing  to  neglect,  and  is  still 
hanging  in  the  Palace  of  Westminster.  At 
Florence  Watts  had  made  the  acquaintance  of 
Caroline,  Lady  Duff  Gordon  ;  he  painted  her  por- 
trait in  1847,  and  since  that  time  he  executed 
the  portraits  of  four  generations  of  her  family. 

In  1848  Watts  made  his  return  felt  in  several 
quarters.  The  excellence  of  his  portrait  of  '  M. 
Guizot'  was  widely  recognized,  and  he  was  already 
proclaimed  "  one  of  the  greatest  artists  of  the 
age  ; "  and  he  completed  also  the  portrait  of  the 
'  Marchioness  of  Waterford,'  and  exhibited  at  the 
British  Institution  two  of  his  finest  pictures  of 
that  period,  'Paolo  and  Francesca'  and  'Fata 
Morgana' — the  smaller  and  more  beautiful  picture 
which  he  retouched  more  than  furty  years  later 
and  presented  to  the  town  of  Leicester.  He  more 
than  maintained  tlie  standard  the  following  year 
witli  '  Life's  Illusions,'  which,  of  all  the  works 
of  the  first  half  of  his  career  is  perhaps  in  respect 
of  colour,  the  finest  example,  at  once  rich,  tender, 
and  subtle,  with  something  of  Etty  and  something, 
too,  of  Titian  and  Turner,  and  yet  wholly  Watts. 
The  picture  is  furthermore  important  for  the  first 
glimpse  it  affords  of  the  painter's  desire  to  apjieal 
to  tlie  heart  and  conscience  of  the  spectator,  as 
well  as  to  his  eye  and  taste.  The  likeness  exe- 
cuted in  the  same  year  of 'Miss  Virginia  Pattle ' 
(afterwards  Lady  Soihers)  heralds  his  friendship 
contracted  with  the  family,  of  whom  three 
daughters  respectively  became  Mrs.  Tlioby  Prin- 
eep.  Lady  Soniers,  and  Lady  Dalrymple.  The 
return  from  Florence  did  not  lircak  off  the  friend- 
ship with  the  Hollands,  for  alike  in  Paris  in  1856, 
and  on  their  reappearance  in  London  they  main- 
tained the  closest  and  kindliest  relations  with  the 

342 


artist,  who  lived  near  by  ;  but  the  friendship  with 
Mr.  and  Mrs.  Thoby  Prinsep  had  ripened  rapidly, 
and  Watts  had  taken  up  his  residence  with  them 
at  Little  Holland  House,  Kensington,  and  re- 
mained under  their  roof  for  some  thirty  years. 
During  that  time  he  painted  nearly  all  the  mem- 
bers of  the  family,  certain  of  which  portraits  — 
such  as  that  of  '  Miss  May  Prinsep '  —  are 
masterpieces  of  extraordinary  merit. 

From  this  point  it  is  scarcely  necessary,  nor  is 
it  possible,  to  trace  the  artistes  career  step  by  step, 
but  the  leading  points  must  be  noticed.  In  1852  he 
had  exhibited  at  the  Royal  Academy  a  portrait  of 
Lord  John  Russell,  then  Premier,  which  made  a 
deep  impression,  and  in  the  autumn  of  1856  he 
obtained  permission  to  accompany  [Sir]  Charles 
Thomas  Newton,  of  the  British  Museum,  and  after- 
wards Vice-Consul  at  Mitylene,  on  his  expedition 
for  the  exploration  of  Halicarnassus.  Watts  took 
with  him  his  young  friend,  Valentine  C.  Prin- 
sep (afterwards  R.A.),  and  they  entered  with 
enthusiasm  into  the  task.  Lord  Stratford  de 
Redcliffe  was  at  that  time  British  Ambassador  at 
Constantinople,  and  thither  Watts  journeyed 
during  the  inevitable  delays  caused  by  the 
Turkish  Government,  and  at  the  Embassy 
painted  his  portrait,  which  was  completed  in 
1855,  and  is  now  in  the  National  Gallery  of 
British  Art.  The  year  1856  was  noteworthy  for 
the  production  of  several  of  his  best  portraits — 
'  Lord  Lyons,'  also  painted  at  Constantinople, 
'Tennyson,'  'Princess  Lieven,'  'Prince  Jerome 
Bonaparte,'  and  two  of  himself.  Watts  now 
eujoyed  the  position  of  one  of  the  leading  and 
most  fashionable  portrait  painters  of  the  day  ;  but 
though  his  brush  was  in  great  demand,  at  his  own 
prices,  he  had  greater  pleasure  in  painting  the 
great  men  of  his  time  in  order  that  he  might 
realize  his  patriotic  intention,  conceived  about  this 
period,  of  recording  the  features  of  the  leaders  of 
thought  and  action  of  Great  Britain  and  offering 
the  pictures  for  the  acceptance  of  tlie  nation.  The 
first  of  them  he  gave  in  1883,  but  he  carried  out 
his  intention  in  its  entirety  in  1895  and  the  follow- 
ing years,  and  at  his  death  he  had  presented  the 
following  pictures  to  the  National  Portrait 
Gallery  : — The  8tli  Duke  of  Argyll  (painted  in 
1860),  Matthew  Arnold  (1880),  Robert  Browning 
(1875),  Thomas  Carlvle  (1877),  Sir  Andrew  Clark 
(1894),  the  Earl  of"  Dufferin,  W.  E.  Gladstone 
(1865),  Sir  John  Peter  Grant,  Sir  Charles  Hall.5, 
Lord  Lawrence,  Sir  W.  E.  H.  Lecky  (1878),  Lord 
Leighton  (1881),  Lord  Lyndhurst  (1862),  Lord 
Lyons  (1856),  Lord  Lytton  (1884),  Dr.  Martineau 
(1874),  Cardinal  Manning  (1882),  Max  Muller 
(1894),  John  Stuart  Mill  (1874),  William  Morris 
(1880),  Sir  Anthony  Panizzi,  Dante  Gabriel 
Uossetti  (1865),  Lord  John  Russell  (1852),  the  3rd 
Marqtiess  of  Salisbury  (1884),  the  7th  Earl  of 
Shaftesbur)',  Lord  Sherbrooke  (Robert  Lowe), 
Lord  Stratford  de  Redcliffe  (1855),  Sir  Henry 
Taylor  (1852),  Lord  Tennyson,  Sir  Henry  Layard, 
and  Thomas  Wriglit — the  two  last-named  chalk 
drawings  of  the  kind  of  which  he  made  many 
scores,  excellent  as  portraits  and  productive  to  the 
artist  of  fame  and  profit.  He  also  made  many 
small  pencil  drawings  of  unsurpassable  exquisite- 
ness  in  touch  and  beauty.  But  distinguislied  as 
are  his  portraits  of  n;ien,  aiming  at  rendering 
primarily  the  character  and  thought  of  the  sitters, 
ills  best  female  portraits  excel  them  in  pictorial 
completeness,    quiet     opulence     of    colour,    and 


G.   F.  WATTS,  O.M. 


Hollycr  plwlo\ 


^National  Portrait  Gallery 


PORTRAIT  OF  CARDINAL  MANNING 


PAINTERS  AND  ENGRAVERS. 


BpleiiJour  of  arrangement.  The  first  of  this  series 
is  that  of '  Mrs.  Nassau  Senior,'  exhibited  at  the 
Ro3'al  Academy  in  1858,  when  Watts,  from  a 
sudden  accession  of  modesty,  allied  possibly  to 
other  motives,  assumed  on  this  occasion  the  name  of 
"  F.  W.  George."  With  this  picture  may  be  named 
those  of  Miss  Alice  Prinsep,'  '  Mrs.  Percy  Wvnd- 
ham  '  (1877),  and  '  Mrs.  Frederick  Myers  '  (1878). 
With  equal  ease  he  painted  portrait  groups,  but  at 
first  paid  less  attention  to  pictural  effect  of  com- 
position ;  later  on  he  imported  a  more  complete 
sense  of  arrangement  and  produced  a  number  of 
pictures  of  charm  and  richness. 

In  the  year  1858  Watts  had  reverted  to  his 
passion  for  introducing  fresco-painting  extensively 
into  England,  not  only  for  its  decorative  but  for 
its  educational  and  didactic  value.  His  desire  to 
paint  the  great  hall  at  Euston  Station  was  happily 
declined  by  the  directors,  although  the  painter 
could  point  to  the  success  which  he  had  achieved 
for  the  benchers  of  Lincoln's  Inn.  For  them  he 
had  painted  a  great  fresco  in  their  hall,  represent- 
ing '  Justice  :  a  Hemicycle  of  Lawgivers,'  com- 
pleted in  1859,  and  the  work,  measuring  40  feet  by 
45,  and  containing  thirty  figures,  is  still  in  fair 
condition.  It  contains  the  likenesses  of  many  of 
his  friends.  Frescoes  were  also  painted  at  Bowood 
for  Lord  Lansdowne  (' Coriolanus'  and  '  Achilles, 
Briseis,  and  Thetis '),  and  at  the  Cluireh  of  St. 
James  the  Less  ('Christ  in  Glory'),  near  Vauxhall 
Bridge,  London  ;  and  several  of  his  pictures,  such 
as  the  '  Story  from  Boccaccio,'  '  Echo,'  and  '  King 
Alfred,'  were  laid  out  on  fresco  plan.  While 
engaged  on  'Justice'  Watts  began  the  portrait  of 
Mr.  Gladstone,  which  was  only  com|ileted  in 
1865 — the  first  of  the  series  of  four  British  Prime 
Ministers  whom  he  painted. 

In  1862  '  Tennyson  '  was  completed  ;  the  beau- 
tiful group  of  'Lady  Margaret  Beaumont  and 
Daugliter  '  showed  a  departure  from  the  treatment 
of  the  old  masters,  and  presented  something 
fresher  and  more  personal.  'Sir  Galahad'  in 
armour,  a  noble  figure,  spiritual  in  attitude  and 
expression,  commanded  universal  approval  ;  and 
'  Bianca,' retouched  the  following  year,  was  held 
to  touch  the  artist's  high-water  mark  of  technical 
achievement.  Two  yeais  later  'Noonday  Rest' 
(or 'The  Dray  Horses')  was  begun,  and  'Time 
and  Oblivion '  (both  now  in  the  National  Gallery 
of  British  Art)  was  exhibited  at  the  Royal  Aca- 
demy. This  was  the  forerunner  of  all  the  more 
didactic  pictures  which,  presented  by  the  artist  to 
the  nation,  are  intended  to  inspire  thought  of  a 
philosophical  kind  on  life.  Most  of  them  are  in 
the  same  Gallery.  His  exhibited  works  at  this 
time  gave  no  real  indication  of  his  industry  :  in 
1865  only  '  Esau,'  '  [Sir]  W.  Bowman,'  and  a  '  De- 
sign for  a  larger  Picture,'  appeared  at  the  Royal 
Academy,  but  he  also  completed  two  portraits  of 
Tennyson,  two  of  Gladstone,  and  portraits  of 
Swinburne,  Rossetti,  H.  W.  Phillips,  the  Marquess 
of  Clanricarde,  and  the  Earl  of  Carlyle,  besides 
beginning  '  Fata  Morgana  '  (after  Bojardo's  '  Or- 
lando Innamorata ')  and  '  Apple-blossom.'  'Thetis,' 
'Daphne,'  and  'Psyche'  followed,  and  proved 
themselves  among  the  most  beautiful  studies  of 
the  nude  produced  by  the  British  School.  The 
artist's  position  was  now  so  commanding  that  the 
Royal  Academy,  for  the  membership  of  which 
Watts  had  always  declined  to  "put  down  his  name  '' 
in  accordance  with  the  requirements  of  candida- 
ture at  that  time,  waived  its  rule  and  elected  him 


without  his  knowledge,  promising  to  advance  him 
forthwith  to  full  membership  at  the  next  vacancy. 
The  undertaking  was  duly  carried  out,  and  Watts, 
Associate  in  the  early  part  of  1867,  became  full 
Academician  in  December  of  the  same  year.  To 
the  exhibition  he  had  contributed  the  portraits  of 
'  Dean  Stanley,'  '  Miss  May  Prinsep,'  '  Laura  '  (the 
Hon.  Mrs.  Seymour  Egerton),  and  '  A  Lamplight 
Study :   Herr  Joachim  '  playing  the  violin. 

In  1868,  the  year  in  which  he  first  met  Miss 
Fraser-Tytler — the  young  lady  who  eighteen  years 
later  was  to  become  his  wife — Watts  made  two 
important  departures:  he  exhibited  at  the  Aca- 
demy both  landscape  and  sculpture.  'Landscape: 
Evening,'  was  the  first,  and  this  was  followed  in 
later  years  by  '  The  Island  of  Cos,'  the  spacious 
canvas  '  The  Return  of  the  Dove,'  '  And  all  the 
Air  a  Solemn  Stillness  holds,' as  well  as  '  By  the 
Sea,'  '  Ararat,'  &c.,  and  studies  of  Naples,  Men- 
tone,  Malta,  the  Nile,  Scotland,  and  of  the  neigh- 
bourhood of  his  country  house  near  Guildford, 
'Limnerslease.'  In  some  of  these  there  is  seen 
sometimes  the  influence  of  Turner,  sometimes  of 
Titian — the  master  whom  of  all  others  Watts 
most  admired  —  but  in  general  the  rendering  is 
entirely  personal,  firm  in  handling,  subtle  in 
colour,  and  rich  in  quality. 

The  sculpture  exhibited  was  the  marble  bust 
of  '  Clytie,'  conceived  in  the  spirit  of  Michel- 
angelo but  chastened  by  Greek  taste,  a  work  so 
noble  that  it  is  to  be  counted  as  one  of  the 
masterpieces  of  British  sculpture.  Watts  had 
previously  wrought  a  'Head  of  Medusa'  in  ala- 
baster, fine  in  character  ;  but  'Clytie'  immeasur- 
ably surpassed  it.  These  were  followed  by  the 
colossal  equestrian  group  of  '  Hugh  Lupus'  for  the 
Duke  of  Westminster,  now  erected  at  Eaton  Hall, 
Cheshire,  a  recumbent  figure  of  '  Lord  Lothian'  in 
Bickling  Church,  another  of  '  Bishop  Lonsdale  '  in 
Lichfield  Cathedral,  in  marble  (1870) — a  superb 
work,  original  in  treatment  and  of  great  power — 
and  the  colossal  equestrian  group  called  '  Physical 
Energy,'  adopted  as  the  fittest  memorial  of  Cecil 
Rhodes,  for  erection  on  his  grave  in  the  Matoppo 
Hills.  A  copy  of  the  '  Clytie  '  in  bronze  (to  which 
material,  however,  it  is  not  quite  so  well  suited) 
graces  the  middle  of  the  Watts  room  at  the 
National  Gallery  of  British  Art.  As  a  sculptor 
Watts  takes  his  place  with  Alfred  Stevens  and 
Leighton,  at  the  head  of  modern  British  plastic 
art,  and  it  is  to  be  observed  that  in  his  more  monu- 
mental canvases  Watts  thought  not  so  much  as  a 
painter — in  mass,  outline,  pattern,  and  colour — - 
but  as  a  sculptor,  in  planes  and  form  :  indeed, 
'Time  and  Oblivion,' the  first  of  what  he  called  his 
"  didactic  "  series  of  pictures,  was  exhibited  as  '  A 
Design  for  Sculpture.'  In  these  sculptural  works 
there  were  sometimes  slight  exaggerations  of  pose 
or  action,  but  always  with  the  etfect  of  increasing 
the  impressiveness  of  the  work,  and  enhancing  the 
sense  of  style  and  emphasizing  the  intention. 
Nobility  is  the  characteristic  of  them  all. 

'Orpheus  and  Eurydice,'  one  of  several  versions 
of  a  subject  which  produced  what  is,  perhaps. 
Watts'  finest  composition  on  canvas,  was  first 
shown  in  1869,  and  in  the  same  year  his  most 
popular  design,  '  Love  and  Death,'  was  begun. 
This  picture,  although  shown  in  1871,  was  not 
completed  until  1875.  It  may  here  be  remarked 
that,  owing  to  the  artist's  practice  of  spending 
years  over  many  of  his  canvases,  exhibiting  them, 
and  then  years  afterwards — occasionally  as  many 

343 


A  BIOGRAPHICAL  DICTIONARY  OF 


as  thirty — taking  them  up  again  and  completing 
tliem,  it  i8  practically  impossible  to  fix  the  date  of 
them.  Moreover,  as  it  was  his  habit  to  start  afresh 
upon  a  new  canvas  a  subject  already  begun  and 
then  returning  to  the  original  and  finishing  it, 
there  are  often  replicas,  or  rather  variants  (in  more 
than  one  case  as  many  as  six),  which  cannot 
always  easily  be  identified. 

Watts'  love  of  classic  subjects  was  founded  on 
his  fundamental  love  of  Greek  art,  wliich  remained 
for  him  to  the  end  the  highest  school  in  the 
rendering  of  form,  and  on  this  to  a  great  extent  he 
sought  to  engraft  the  colour  of  the  Venetian  School. 
Yet  all  the  while  he  bore  modern  nee<l8  in  mind, 
and  in  his  case  no  one  can  pretend  that  the 
"classic"  is  "cold"  or  without  vitality.  His 
rendering  of  classic  myths  is  full  of  beauty  and 
living  interest  even  when  it  does  not  maintain  his 
highest  level.  'Endymion'  was  three  times  re- 
peated ;  the  first  the  finest,  and  the  third  far  more 
satisfactory  than  the  second.  One  of  the  artist's 
undoubted  masterpieces,  for  elegance  and  distinc- 
tion, is  '  The  Three  Goddesses,'  and  striking  in 
various  ways  are  '  Ariadne '  (several  versions), 
'  Arcadia,'  '  Arion,'  '  Aristides  and  the  Shepherd,' 
'  Olympus  on  Ida,'  '  A  Greek  Idyll,'  '  Prometheus,' 
'Tlie  Childhood  of  Jupiter,'  'Ganymede,'  'The 
Judgment  of  Paris,'  and  '  The  Genius  of  Greek 
Poetry.'  Sometimes  the  titles  and  figures  are 
employed  by  the  artist  to  convey  not  so  much 
definite  illustration  or  suggestion  as  types  of 
humanity,  as  in  the  four  characteristic  canvases  : 
'The  Wife  of  Plutus,'  'The  Wife  of  Pygmalion,' 
'  A  Roman  Lady,'  and  '  In  the  Time  of  Giorgione,' 
incorrectly  called  'The  Wife  [or  Mother]  of 
Giorgione.' 

Illustration  of  the  literary  creations  of  others 
Watts  commonly  avoided,  except  when  he  thought 
he  could  carry  the  conception  further  ;  examples 
have  alrr ady  been  cited,  and  to  them  may  be  added, 
'  Britomart  and  her  Nurse,'  'Enid  and  Geraint,' 
and  '  Brunnhilde.'  Biblical  and  devotional  subjects 
he  dealt  with,  but  he  always  brought  something 
of  his  own  to  the  idea  realized — '  Cain,'  the  aged 
outcast,  sinking  down  in  repentance  on  the  altar 
of  Abel  ;  '  Eve ' — a  god-like  creation  reaching  from 
earth  to  heaven,  and,  again,  '  Tempted '  and 
'Repentant;'  'Jonah'  crying  out  against  the  vices 
of  the  age,  against  violence,  indulgence,  and 
gambling.  And  so  forth.  Tlie  painter's  sympathy 
with  the  miseries  of  the  poor,  exemplified  in  his 
early  works,  '  Found  Drowned,'  '  Under  a  Dry 
Arch,'  and  '  Tlie  Irish  Famine,'  and,  in  another 
aspect,  in  '  Prayer,'  found  a  fuller  and  more  natural, 
though  a  less  ajsthetic,  expression  in  the  didactic 
pictures  which  in  1897  he  presented  to  the  nation, 
and  added  to  from  time  to  time.  The  first  of  these 
aim  at  robbing  death  of  its  horrors,  showing  it 
as  the  kindly  if  irresistible  messenger.  This  is 
seenin  'Time,  Death,  and  Judgment,"  Death  crown- 
ing Innocence,' '  Love  and  Death,' '  The  Messenger,' 
and  'The  Court  of  Death,'  the  last  perhaps  the 
most  majestic,  though  not  the  most  original,  of 
Watts'  designs  in  this  class  of  work.  The  object 
of  the  second  class  is  to  remind  the  spectator  of 
the  power  of  love — '  Love  and  Life,'  '  Love  and 
Death,'  '  Love  steering  the  Boat  of  Humanity,' 
and  'Love  Triumphant' — rising  upwards  on  its 
wings  with  arms  outstretched  when  Death  and 
Time  themselves  lie  dead.  He  lashes  the  vices  of 
the  age — greed,  avarice,  lust,  and  vanity — in 
'  Mammon,'  '  For  he  had  great  Possessions,' '  Greed 

344 


and  Labour,'  '  The  Minotaur,'  and  '  Dedication ' 
with  its  altar  covered  with  the  bodies  of  dead  birds  ; 
he  appeals  to  the  conscience  in  'The  Dweller  in  the 
Innermost'  ;  he  points  to  the  futility  of  the  small 
things  of  life  in  '  Can  these  Dry  Bones  Live  ?  '  and 
in  the  grandly-composed  '  Sic  transit ; '  to  the 
absurdity  of  schism  and  quarrel  among  the 
Churches,  in  'The  Spirit  of  Christianity;'  offering 
comfort  and  counsel  in  '  Faith,'  '  Peace  and  Good- 
will,' and  '  Hope,'  while  pointing  to  higher  con- 
templation in  'Whence?  Whither?'  'The  All- 
Pervading,'  and  'The  Sower  of  the  Systems.' 
Watts'  career  covers  roughly  sixty-five  years  ;  the 
first  thirty-five  devoted  mainly  to  the  considerations 
that  should  animate  most  artists ;  the  last  thirty 
years  are  coloured  by  an  ulterior  aim — the  benefit 
and  well-being  of  his  fellow-men  ;  so  that  it  is 
unjust  and  indeed  impossible  to  judge  of  his  work 
without  regarding  it  from  his  own  standpoint, 
namely,  that  for  its  full  mission  and  accomplish- 
ment art  must  go  hand-in-hand  with  beneficent 
effort,  and  that  it  has  achieved  but  half  its  potential 
purpose  if  it  stop  short  at  sensuous  delight.  It  is 
for  this  reason  that  early  in  his  career  he  checked 
his  practice  of  dexterous  handling  and  technique, 
surrendering  his  claim  to  popular  applause  on  that 
ground  in  the  endeavour  that  the  artist  should  be 
forgotten  in  his  mission. 

In  spite  of  his  earnestness,  Watts  could  be 
playful,  and  in  a  series  of  pictures  he  aimed  at 
delicacy  and  charm,  and  he  achieved  them.  Of 
such  are :  '  Good  Luck  to  your  Fishing'  and  'Afloat' 
{amorini  taken  from  groups  in  other  of  his 
pictures),  'The  Habit  does  not  make  the  Monk,' 
'Little  Red  Riding-Hood,'  'The  Idle  Child  of 
Fancy,'  '  Bo-Peep,'  '  Mischief,'  '  B.C.,  or  the  First 
Oyster,'  '  Asleep,'  '  Trifles  Light  as  Air,'  and  '  A 
Fugue' — the  last  t%vo  being  built  up  of  flying 
amorini,  the  former  dainty,  and  the  latter  superb 
in  its  decorative  arrangement,  and  admirable  in 
the  opulent  yet  restrained  and  powerful  harmony 
of  colour.  Herein  Watts  did  finely  what  Boucher 
and  Rubens  loved  to  do,  but  bis  work  is  entirely 
free  from  foreign  flavour.  In  his  later  years  he 
aimed  at  iridescence  and  opalescence  of  colour, 
and  exercised  himself  in  such  works  as  '  The  Forty- 
First  Day  of  the  Flood,'  where  the  sun  breaks  in 
glory  through  the  dissipating  wafers,  as  '  Uldra,' 
'  Iris,'  and  '  "The  Nixie's  Foundling.' 

Owing  mainly  to  his  generosity,  examples  of 
Watts'  work  appear  in  many  public  galleries  in 
the  United  Kingdom,  as  well  as  in  the  Colonies, 
in  France,  and  in  America.  Although  he  twice 
refused  a  profTered  baronetcy  for  reasons  of  his 
own,  he  was  constrained  to  accept  the  coveted 
honour  of  the  Order  of  Merit,  conferred  upon  him 
by  the  King  in  1902  as  the  representative  of  the 
artists,  and  his  headship  thus  ofiScially  recognized 
was  unanimously  acclaimed  by  his  professional 
brethren  and  public  alike.  He  died  after  a  brief 
illness  on  July  1,  1904,  having  attained  the  age  of 
eighty-seven,  a  patriarchal  figure,  in  full  command 
of  his  powers  and  faculties  up  to  the  last. 

Of  his  generosity,  munificence,  and  wise  charity 
there  is  no  need  here  to  speak  ;  and  the  patriotic 
acts  recorded  in  this  article  are  sufficient  testimony 
to  the  passionate  love  of  his  country  that  burned 
within  him.  He  was  a  great  worker.  The  industry 
of  Watts  was  extraordinary.  Throughout  his  life 
it  was  his  practice  to  rise  with  the  dawn  and  work 
throughout  the  day,  with  brief  allowance  for 
exercise  and  meals.     The  result  is  that,  besides  the 


G.   F.   WATTS,  0..M. 


IloUyer  photo\ 


\  r.lli  CllUrv 


LOVE  AND   LIFE 


PAINTERS  AND  ENGRAVERS. 


vast  number  of  drawings  he  produced — many  of 
them  highly  finished — and  besides  his  sculptures 
and  frescoes,  about  800  paintings  are  included  in 
his  work.  Of  these  only  a  selection  is  given  in 
the  following  lists,  which,  it  should  be  noted,  do 
not  comprise  the  pictures  already  mentioned. 

MALE    PORTRAITS. 

King  Edward  VII.  when  Prince  of  Wales.     1881. 

Adam,  General  Sir  F.  K. 

Airlie,  Earl  of. 

Aldenham,  Lord.     1896. 

Armstrong,  Lord.     1879. 

Aumale,  Due  d'.     1856. 

Baden-Powell,  Major-General.     1902. 

Balfour,  Et.  Hon.  Gerald.     1899. 

Bath,  Marquess  of. 

Beanlands,  Eev.  Charles.     1880. 

Bentham,  Jeremy. 

Blumenthal,  Jaques.     1878. 

Blunt,  Wilfrid  S.     1899. 

Bossi,  Count.     1845. 

Brodie,  Sir  B.  C,  Bt.,  F.R.S.     1868. 

Brooke,  Kev.  Stopford, 

Browne,  Rt.  Rev.  Ed.  Harold,  Bishop  of  Ely  (afterwards, 

of  Winchester). 
Browulow,  2nd  Earl. 
Brownlow,  3rd  Earl. 
Buchanan,  Rt.  Hon.  Sir  Andrew. 
Burne-Jones,  Sir  Edward.     1870. 
Burns,  John,  M  P. 
Burton,  Sir  Richard. 
Cadogan,  Earl.     1877. 
Caldoron,  Phihp  H.,  R.A.     1872. 
Campbell,  Stratheden  and.  Lord.     1863. 
Cassavetti,  D.  G. 
Cassavetti,  Alexander. 
Cavaty,  G.  T.     1849. 
ClanwiUiam,  Earl  of. 
Cleveland,  4th  Duke  of.     1873. 
Cockburn,  Sir  A.,  Lord  Chief  Justice.     1875. 
Cockerel!,  S.  Pepys.     1881. 
Cowper.  Earl,  Ld.-Lt.  of  Ireland.     1877. 
Crane,  Walter,  R.W.S.     1891. 
Dalrymple,  Sir  John. 
Davey,  Lord. 

Devonshire,  Duke  of.     1882. 
Dilke,  Sir  Charles,  Bt.     1873 
Douders,  Professor. 
Dundas,  Rt.  Hon.  Sir  David. 
Dunlop,  R.  H.  W.,  C.B.     1872. 
Edwardes,  J.  Passmore.    1894. 
Garibaldi. 

Gilbert,  Alfred,  R.A. 
Gladstone,  W.  E.    1865. 
Gladstone,  W.  B.     1879. 
Granby,  Marquess  of. 
Guizot.     1848. 
Gurney,  John.     1889. 
Gumey,  Rt.  Hon.  Russell,  Q.O. 
Gurney,  Rev.  Alfred.     1895. 
Hillingdon,  Lord.     1881. 
Hicheus,  Andrew. 
Hobart,  Lord,  Henry  Yere. 

lonides  ¥Ami\y{twenty  portraits  of  this  famiVy), 
Joinville,  Prince  de. 
Jones,  Rev.  Harry.     1874. 
Jowett,  Prof.  Benjamin.     1889. 
Leconfield,  Lord. 

Leighton,  Sir  Baldwin,  8th  Bart.     1873. 
Leighton,  Sir  Baldwin,  9th  Bart. 
L'Estrange,  Hamo.     1874. 
Lewis,  Sir  Thomas  Frankland,  Bt.     1868. 
Liddell,  Canon. 

Lindsay,  Colonel  the  Hon.  Charles.     1879. 
Lothian,  8th  Marquess  of.     1875. 
Lovat,  Simon,  16th  Lord. 
Lucca,  Grand  Duke  of.     Circa  1845. 
Lushington,  Dr. 
Lyndhurst,  Lord.     1862. 
Lytton,  Lord  ("  Owen  Meredith  ").    1884. 
Macnamara,  C.     1876. 


Manuel,  M.  B. 

Marochetti,  Baron,  R.A. 

M'Neill,  Sir  John,  G.C.B.     1869. 

Meredith,  George.     1893. 

Mi6ville,  A.  J.  L. 

Millais,  Sir  John,  Bt.,  P.E.A.     1871. 

Milman,  Dean. 

Mitchell,  J.  W.     1856. 

Montefiore,  Claude.     1897. 

Mottey,  James  Lothrop.     1861. 

Napier,  9th  Lord.     1886. 

Napier,  General  Sir  W.  F.     1868. 

Newcastle,  Duke  of.     1868. 

Norman,  C.     1873. 

Peabody,  George. 

Percival,  Rev.  J.,  Bishop  of  Hereford.     1878. 

Prinsep,  Arthur. 

Priusep,  Thoby,  and  children.     1850. 

Prmsep,  Thoby,  and  Mrs.     1863. 

Prinsep,  Sir  H.  T.  {two). 

Prinsep,  Val.  C,  K.A.     1872. 

Ralli,  John. 

Ramsden,  Sir  C.  W.     Circa  1861. 

Ripon,  Rt.  Rev.  Bickersteth,  Bishop  of.     1878 

Ripon,  Marquess  of.     1896. 

Roberts,  Field-Marshal  Lord.     1899. 

Roebuck,  J.  A. 

Rosebery,  Earl  of  (uiijinished). 

Sabine,  Su-  Edwin,  K.C.B.     1875. 

Selborne,  Earl  of.  Lord  Chancellor.     1865. 

Shrewsbury  and  Talbot,  3rd  Earl  of.     1863. 

Somers,  Earl. 

Spottiswoode,  W.,  P.R.S.    1873. 

Stephen,  Sir  James. 

Stephen,  Sir  Leslie.     1878. 

Stern,  Alfred  de. 

Talbot,  General  Hon.  Reginald  ('  The  Standard  Bearer') 

Talbot,  WiUiam,  R.N.     1878. 

Temple,  Dr.,  Rt.  Rev.  Archbishop  of  Canterbury.   1880. 

Tennyson,  Lord  (six).     1856-1890. 

Thiers,  M.,  President  of  the  French  Republic. 

Tricoupis,  M.  (two).     1887. 

Troubridge,  General  Sir  Thomas,  Bt.,  C.B.     1858. 

Walker,    W.,    M.A.,    High     Master     of    Manchester 

Grammar  School  (afterwards  of  St.  Paul's  School, 

London).     1875. 
Watts,  G.  F.,  R.A.,  O.M.  {several,  from  c.  1834-1904). 
Wensleydale,  Lord.     1864. 
Wichelo,  J.     1840. 

Wrigley,  Thomas.     1875.     {Replica,  1897). 
Wyndham,  George  {sketch). 
Wyndham,  Captain  Guy. 

FEMALE   PORTRAITS. 

Airlie,  Countess  of. 

Anderson,  Miss  Mary. 

Baring,  Hon.  Mary.     1885. 

Bath,  Marchioness  of. 

Bentinck,  Lady  F.  R.  Cavendish.     1857. 

Bentinck,  Mrs.  George  Cavendish,  and  three  children. 

1858. 
Bentinck,  Miss  Venetia  Cavendish.     1881. 
Bligh,  Hon.  Mrs  Ivo.     1898. 
Bond,  Mi.ss  Lucy.     1880. 
Brownlow,  Countess. 
Buonaparte,  Princess  Mathilda.     1847. 
Burue-Jones,  Miss.     1897. 
Butler,  Mrs.  Josephine.     1896. 
Cameron,  Mrs.  Julia. 
Castiglione,  Countess  {unfinished).     1846. 
Champneys,  Mrs.  F. 
Courtenay,  Lady  Carohne. 
Dalrymple,  Lady. 
Dalrymple,  Miss  Virginia.     1872. 
Dene,  Miss  Dorothy. 

Dudley,  Countess  of  (Miss  Rachel  Gumey).     1885. 
Garvagh,  Lady.     1874. 

Gordon,  Miss  Lma  Duff  (Mrs.  Aubrey  Waterfield).  1899. 
Gordon-Lennox,  Lady  Algernon. 
Granby,  Marchioness  of. 

Gurney,  Miss  Laura  (Lady  Troubridge).     1885. 
Halle,  Lady  (Norman  Neruda).     1873. 
Huth,  Mrs.  Louis. 

345 


A   EIOGRAPniCAL  DICTIONARY  OF 


Kenmare,  Countess  of  (unfinished), 

Kilmorey,  Countess  of  (Miss  Baldock). 

Laugtry,  Mrs. 

Lawley,  Constance  (Lady  'Wenlock). 

L'Estrange,  Mrs.  Hamo.     1874. 

Leven,  Countess  of.     1889. 

Lichtenstein,  Princess  (Miss  Mary  Fox). 

Lilford,  Lady. 

Lindsay,  Lady,  of  Balcarres.     1877. 

Lockhart,  Mrs. 

Xiowther,  Mrs.  F. 

Lytton,  Countess  of. 

MacCallum,  Miss  Dorothy.     1898. 

Macnamara,  Mrs. 

MavTOgani,  Mrs. 

Moutgomerie,  the  Misses  (one  afterwards  Lady  Queens- 
berry). 

I^oel,  Ladies  Victoria  and  Catherine,  and  Hon  Koden. 
1841. 

Norton,  Hon.  Mrs. 

Pembroke,  Countess  of. 

Powerscourt,  Lady. 

Prescott,  Miss.     c.  1850. 

Prinsep,  Lady. 

Kalli,  Mrs. 

Ramsden,  Mrs.  J.  C. 

Kistori,  Madame,     r.  1861. 

Kogers,  Mrs.  C.  Coltman.     1895. 

Rosebery,  Countess  of  (two).     1875. 

Russell,  Lady  Arthur.     1874. 

Russell,  Mrs.  William  {two).     1862. 

Sassoon,  Lady. 

Senior,  Miss  Nassau  (Mrs.  C.  Simpson). 

Sisters,  The  (Lady  Dalrymple  and  Mrs.  Prinsep).   1861. 

Smith,  Mrs.  Hugh.     1878.^ 

Somers,  Counters  (Miss  Virginia  Pattle  ;  two). 

Somer.set,  Lady  Henry  (Lady  Isabella  Somers-Cocks). 

Spring-Kice,  Miss  (Lady  Taylor). 

Stephen.  Mrs.  Leslie. 

Talbot,  Miss. 

Talbot,  the  Ladies  (afterwards  Marchioness  of  Lothian, 
Couutess  of  Pembroke,  and  Countess  Brownlow). 

Tennant,  Miss  Dorothy  (Lady  Stanley). 

Thyuue,  Lady  Catherine  (Countess  of  Cromer).     1890. 

Tour  d'Auvergne,  Princesse  de  [nee  Contessa  Tacci, 
then  Mme  Leroux,  afterwards),     c.  1846. 

Treherne,  Miss  (Mrs.  Weldon).     1863. 

Tytler,  Miss  Hester  Fraser-.     1890. 

Van  Lennep,  Mrs. 

Walenska,  Countess.     1847. 

Watts,  Mrs.  G.  F.     1887. 

Wemyss,  Mrs.  (Miss  Millicent  Erskine). 

SUBJECT   PICTURES   AND   LANDSCAPES. 

Ariadne  in  Naxos.     1875, 

Artemis  and  Hyperion. 

Aspiration.     1866. 

Aurora. 

Building  of  the  Ark. 

Chaos. 

Charity.     1895. 

Daughter  of  Herodias.     1885. 

Dawn.     18SS. 

Europa. 

Fata  Morgana.     1889. 

Fireside  Companions.     1874. 

Godiva,  Return  of  Lady.     1S85. 

Good  Samaritan,  The.     1850. 

Happy  Warrior,  The.     1884. 

Hyperion. 

Lsabella  finding  Lorenzo  dead.     1840. 

Isabella.     1859. 

Jacob  and  Esau,  Meeting  of.     1868. 

'Joan  of  Arc  '  {correct  title :  '  Study  of  Armour'). 

Judas  returning  the  pieces  of  Money. 

'  Leda."     1873. 

Loch  Ness.     1899. 

Magdalen,  The  Penitent. 

-Kaiads  and  Dryads.     1849. 

Naked  and  Unashamed.     1896. 

Neptune's  Horses.     1893. 

Open  Door,  The.     1888. 

Ophelia.     1878. 

346 


Outcast  Goodwill.    1895. 

I'aris  on  Ida.     1897. 

Patient  Life  of  Unrewarded  Toil. 

Peasants  in  the  Roman  Campagna. 

Percival,  Sir. 

Prodigal  Son,  The.     1873. 

Progress.     1904. 

Prometheus. 

Ram  it  raineth  every  Day,  The.    1883. 

Rain  passing  Away.     1884. 

Ked  Cross  Knight  and  Una  (three).     1869. 

Reverie. 

Khodope  and  Mao^  (unfinished). 

Rider  on  the  Black  Horse,  The.     1872  and  1878. 

Kider  on  the  Pale  Horse,  The.     1883. 

Rider  on  the  White  Horse,  The.    1883. 

Ruins,  The. 

Ruth  and  Boaz.     <-.  1840. 

Sacrifice  of  Noah.     1896. 

Samson.     1871. 

Satan. 

Saxon,  A  Fair. 

Saxon  Sentinels,  The. 

Sea  Ghost,  A. 

Slumber  of  the  Ages,  The.     1901. 

Spaniels,  The  (hurnt). 

Spirit's  Return,  The. 

Sunset  on  the  Alps.     1888. 

Sunset  on  the  Nile. 

Sunset  in  Surrey. 

Sympathy — A  Nurse. 

Tliey  knew  that  they  were  Naked.     1896. 

Titian  (South  Kensintfton  Museum.    Design  for  mosaic). 

Two  Paths,  The.     1903. 

Venetian  Nobleman,  A. 

Vindictive  Anger  (unjinishe'l — two). 

Watching  for  the  return  of  Theseus. 

Watchman,  what  of  the  Night  ?     1880. 

Window  Seat,  The.  M.  Hi  S. 

WATTS,  Jane,  (nee  Waldie,)  an  amateur 
painter,  was  born  in  1792.  She  was  the  daughter 
of  a  Scottisli  gentleman,  and  married  Captain, 
afterwards  Admiral,  Watts,  R.N.  She  exliibited 
landscapes  at  tlie  Academy  and  the  British  In- 
stitution, between  1817  and  18'20,  while  still  un- 
married. She  afterwards  dabbled  in  literature,  and 
published  'Sketches  descriptive  of  Italy,' in  four 
volumes,  in  1820.  She  died  on  the  26th  July,  1826. 
Her  sister  Charlotte,  afterwards  Mrs.  Eaton,  was 
the  author  of  the  well-known  'Waterloo  Days,' 
and  of  other  works. 

WATTS,  John,  an  English  mezzotint  engraver, 
who  practised  in  London  from  about  1770  to  1786. 
lie  was  probably  also  a  printseller.  Amongst  his 
plates  are : 

Icarus;  after  Van  Dyck.     1778. 

Nathaniel  Lee  ;  after  Dobson.     1778. 

Earl  of  Denhigh  ;  after  Dance.     1785. 

Josepli  Baretti ;  after  Reynolds.     1780. 

Marquis  of  Hertford  ;  after  the  same.     1786. 

WATTS,  Simon,  an  English  wood-engraver, 
practised  in  London  about  the  middle  of  the  last 
century.  He  has  left  two  or  three  large  wood- 
cuts dated  1736,  and  some  medallion  portraits  of 
painters,  engraved  with  much  freedom.  Some 
later  portraits  are  also  ascribed  to  him,  among 
them  a  'Queen  Elizabeth,'  dated  1773,  and  a 
'  Dudley,  Earl  of  Leicester,'  dated  1775. 

WATTS,  Walter  H.,  a  fashionable  miniature 
painter  in  the  early  jiart  of  the  nineteenth  century, 
who  in  1816  held  the  appointment  of  miniature 
painter  to  Princess  Charlntte.  He  was  the  son  of 
.1  captain  in  the  R  >yal  Navy,  and  was  born  on 
board  one  of  his  father's  ships  when  stationed  in 
the  East  Indies  in  1776.  He  studied  for  a  time  at 
the  schools  of  the  Royal  Aoa<lemy,  became  a 
member  of  the  Society  of  Artists  in  Water-Colours, 


PAINTERS  AND  ENGRAVERS. 


and  was  a  successful  teacher  of  miniature  painting. 
He  did  not,  however,  find  himself  in  receipt  ot 
sufficient  commissions  for  his  artistic  work,  and  so 
determined  to  become  a  reporter,  and  was  for 
some  years  a  member  of  the  staff  successively  of 
the  'Morning  Post' and  the  'Morning  Chronicle.' 
He  wrote  very  many  articles  for  tlie  '  Literary 
Gazette'  between  about  1820  and  1830,  and  from 
time  to  time  employed  his  leisure  in  painting 
miniatures.  His  work  lacks  inspiration,  and  is  not 
satisfactory  from  the  point  of  view  of  colour,  but 
his  portraits  were  considered  accurate,  and  were 
■certainly  popular.  He  was  a  great  favourite  as  a 
reporter  on  account  of  his  grace  of  manner  and 
fluency  in  conversation,  but  in  social  life  was  a 
man  of  some  reticence,  and  admitted  no  one  to 
terms  of  great  intimacy.  He  never  married,  and 
hardly  any  one  is  known  to  have  visited  him  at  his 
rooms.  He  resided  most  of  his  time  in  lodgings, 
and  dii  d  in  Earl's  Court  in  1842. 

WATTS,  William,  landscape  engraver,  was 
bom  in  London  in  1752.  His  father  was  a  silk- 
weaver  in  Moorfields,  and  the  sou  obtained  his 
education  in  art  from  Paul  Sandby  and  Edward 
Rooker.  On  the  death  of  Rooker,  he  continued  his 
'  Copperplate  Magazine.'  He  published  in  1779-86, 
'  Views  of  the  Seats  of  the  English  Nobility  and 
Gentry.'  In  1786,  he  went  to  Italy  for  a  J"ear,  and 
on  his  return  took  up  his  residence  at  Sunbury, 
near  London.  After  visiting  Carmarthen  and 
Bristol,  he  in  1791  settled  for  twelve  years  at  Bath, 
where  he  produced  twelve  line  engravings  of  Bath 
views.  On  the  outbreak  of  the  French  Revolution, 
he  removed  to  Paris,  and  lost  much  of  his  property 
through  investing  it  in  French  securities.  Being 
compelled  to  resume  active  work,  he  in  1800  pro- 
duced '  Select  Views  in  London,'  and,  in  the  course 
of  the  next  five  years,  sixty  illustrations  to  Ainslie's 
'  Turkey  and  Palestine.'  He  also  collaborated  in 
various  works  with  Sandby,  Ingleby,  Middiman, 
Fittler,  Angus,  Milton,  and  others.  He  was  once 
more  able  to  retire,  and  in  1814  settled  at  Cobham, 
where  he  died,  blind,  and  in  his  hundredth  year, 
in  1851. 

WATZDORFF,  Heinrich  August  von,  was  born 
at  Greiz  in  1760.  From  his  early  years  he  showed 
a  taste  for  drawing  and  painting,  and  when,  in 
1778,  he  entered  the  Leipsio  University,  he  still 
pursued  his  artistic  studies.  In  1780  he  became 
a  lieutenant  in  the  army,  but  eight  years  later  he 
was  at  work  as  a  landscape  painter  under  Klengel 
in  Dresden,  first  in  water-colours  and  then  in  oil. 
He  also  copied  Wouwerman,  Potter,  Ostade,  and 
Lingelbach.  In  1793-4  he  took  part  in  the  cam- 
paign on  the  Rhine,  in  the  course  of  which  he 
made  immerous  drawings.  In  1796  he  quitted  the 
army  and  settled  down  as  painter  of  landscapes 
and  cattle-pieces  in  the  Dutch  style,  often  with 
carts  and  waggons  introduced.  He  also  etched 
three  landscapes  with  cattle.  He  died  at  Darm- 
stadt, August  18th,  1824. 

WAUMANS,  Conrade,  a  Flemish  engraver, 
flourished  at  Antwerp  about  the  year  1642.  He 
was  a  pupil  of  Pieter  de  Bailliu,  whose  style  he 
imitated.     The  following  are  his  best  plates: 

Frederick  Heury,  Priuce  of  Orange  ;  after  Van  I>yck. 

Emilie  von  Solms,  Princess  of  Orauge ;  after  the  same. 

Dou  Autonio  de  Zuniga  ;  after  the  same. 

Jau  Both,  Landscape  painter ;  after  JVillaerts. 

Herman  Saftleven,  Painter  ;  after  a  picture  by  himself. 

David  BaiUy,  Painter ;  the  same. 

Cornelis  Jansseu,  Painter;  the  same. 

The  Descent  from  the  Cross  ;  after  Eulens. 


The  Assumption  of  the  Virgin  ;  after  the  same. 
The  Virgin  and  Infant  Jesus  ;  after  Van  Dyck. 
Mars  and  Venus  ;  after  tht  same. 

WAUQUELIN,  — ,  a  Flemish  miniaturist  of  the 
15th  century.  The  Town  Library  of  Brussels  has 
a  '  History  of  S.  Helena,'  illuminated  by  him  in 
1448. 

WAUTERS,  Charles  AoonsTiN,  a  Belgian  his- 
torical painter,  born  at  Boom  in  1811.  He  studied 
at  the  Academies  of  Mechlin  and  Antwerp,  and 
at  the  latter  worked  under  Van  Bree.  For  some 
years  he  was  director  of  his  old  school,  the 
MechUn  Academy,  and  he  died  in  that  town  in 
1869.  A  monument  was  erected  to  his  memory 
in  the  church  of  St.  Andr6  at  Antwerp.  Among 
other  pictures  by  him  we  may  name : 

OMlsruhe.       Gallery.    The  Traveller. 

MechJin.         Museum^     Salvator  Rosa  in  the  Abruzzi. 

„  „  Floris  de  Montigny  in  prison  at 

Madrid. 

„  Cathedral.    The  Last  Supper. 

WAXSCHLUNGER,  Johann  Paul,  painter,  born 
at  the  close  of  the  17th  century,  was  a  pupil  of 
his  father,  Jouann  Georq  Waxschldnger,  and 
like  him  devoted  himself  to  painting  landscapes 
with  animals,  flowers,  fruit,  and  dead  game,  in 
the  manner  of  Weenix.  Examples  of  his  works 
are  to  seen  in  the  Nymphenburg  and  Schleissheim 
Galleries.     He  died  in  1724. 

WAY,  JoHAN  Wilhelm  Carl,  a  Swedish  painter, 
was  born  in  1792,  and  died  in  1873.  There  is 
a  portrait  by  him  of  Queen  D^sir6e,  wife  of  Charles 
XIV.  of  Sweden,  in  the  Stockholm  Gallery. 

WEBB,  Charles  Meer,  painter,  was  born  on 
July  16,  1830,  near  London  ;  but  according  to 
some  accounts,  at  Breda,  in  Holland.  He  studied 
at  the  Amsterdam,  Antwerp,  and  Diisseldorf 
Academies.  To  the  last-named  he  went  in  1848, 
and  was  there  much  influenced  by  Camphausen. 
He  settled  at  Diisseldorf  and  became  a  well- 
known  painter  of  genre  subjects.  Some  of  his  most 
popular  works  were  taken  from  English  life  and 
history.  Among  his  pictures  may  be  noted  his 
'  Rent  Day  '  (at  the  Coloj;ne  Museum),  '  Burgher 
at  Home,'  'The  old  Suitor,'  '  A  Council  Meeting  at 
Browershafen,'  and  'The  Poacher.'  Webb  died  at 
Diisseldorf,  from  injuries  resulting  from  a  fall,  on 
Dec.  11,  1895.  m.  H. 

WEBB,  Duncan,  an  English  engraver,  was  born 
at  the  end  of  the  18th  century.  He  worked  chiefly 
on  pictures  of  dogs  and  horses,  and  had  gained  a 
very  considerable  reputation,  when  he  fell  down 
dead  in  the  street,  in  1832. 

WEBB,  West  FIELD,  an  English  portrait  painter, 
who  practised  in  St.  Martin's  Lane  about  the 
middle  of  the  18th  century.  He  was  a  Fellow  of 
the  Society  of  Artists,  with  whom  he  exhibited 
portraits,  landscapes,  and  flower-subjects  from 
1762  to  1772.  He  is  believed  to  have  died  soon 
after  the  latter  date. 

WEBBER,  John,  (originally  Weber,)  laiidscape 
painter,  was  born  in  London  in  1752.  His  father, 
who  was  a  sculptor,  was  a  native  of  Berne, 
Switzerland,  and  sent  his  son  when  young  to  Paris, 
where  he  received  part  of  his  education  as  an 
artist.  On  his  return  to  London  in  1775,  he 
studied  at  the  Royal  Academy.  Having  acquired 
a  considerable  reputation  as  a  topographical 
draughtsman,  he  was  appointed  draughtsman  to 
accompany  Captain  Cook,  in  the  last  voyage  he 
made  to  the  South  Seas.  From  this  voyage  he 
returned   in  1780,  when  he  was  employed  by  the 

347 


A   BIOQEAPHICAL   DICTIONARY   OF 


Lords  of  the  Admiralty  to  supi^rintend  the  engrav- 
ing of  the  prints  from  his  own  drawings.  This 
concluded,  he  published,  on  his  own  account,  a 
set  of  views  of  the  principal  places  he  had  visited. 
They  were  etched,  aquatinted,  and  printed  in 
colour  by  himself.  He  then  devoted  his  attention 
to  landscape  painting.  He  travelled  much  in  Great 
Britain,  Italy,  France,  and  Switzerland,  making 
numerous  drawings  from  which  he  produced  oil 
paintings.  He  had  been  present  at  the  death  of 
Captain  Cook,  and  his  drawing  of  that  event  was 
engraved  by  Byrne  and  Bartolozzi.  Webber  was 
elected  an  Associate  of  the  Academy  in  1785,  and 
a  Royal  Academician  in  1791.  He  died  in  London 
in  1793.  There  are  four  water-colour  drawings  by 
him  in  the  South  Kensington  Museum. 

WEBBERS,  J.,  was  a  Dutch  engraver,  who 
flourished  about  the  year  1656.  He  engraved 
several  views  of  the  churches  and  public  buildings 
at  Amsterdam,  which  were  published  in  1656,  with 
descriptions  in  Dutch  and  French. 

WEBER,  Antoine  Jean,  painter  and  litho- 
grapher, was  born  in  Paris,  May  11,  1797.  He 
entered  the  ^cole  des  Beaux  Arts  in  1813,  and 
studied  under  both  Gros  and  VafElard.  He  was 
chiefly  known  as  a  lithographer,  sending  many 
reproductions,  mostly  after  second-rate  masters, 
to  the  Salon  between  1824  and  1850.  Two  portraits 
by  him  are  at  Versailles.     He  died  in  1875. 

WEBER,  August,  a  German  landscape  painter, 
was  born  at  Frankfort-on-Maine,  January  10,  1817, 
and  obtained  his  first  lessons  in  art  from  the 
landscape  painter  Rosenkranz.  He  18,35  he  entered 
the  studio  of  the  court  painter  Schilbach  in 
Darmstadt,  and  travelled  with  him  in  Switzerland. 
He  afterwards  studied  for  some  time  in  the  Stiidel 
Institute  at  Frankfort.  In  1838  he  settled  at  Diissel- 
dorf,  and  became  a  most  successful  painter  of  ideal 
landscapes.  He  has  also  left  some  lithographs. 
He  died  at  Dusseldorf  in  1873.  A  '  Westphalian 
Landscape '  by  him  is  in  the  Berlin  National 
Gallery. 

WEBER,  Friedrich, anexcellentSwiss  engraver, 
was  born  at  Liesthal,  near  Basle,  in  1813.  He 
studied  under  Amsler  at  Munich,  and  completed 
his  training  in  Paris,  where  he  settled.  He  gained 
a  medal  of  the  second  class  in  1847,  1859,  and 
1863,  was  a  corresponding  member  of  the  Institute, 
and  a  member  of  the  Berlin  Academy.  He  died  in 
Paris  in  1882.  Among  his  best  plates  we  may  name  : 

Portrait  of  a  YouDg  Man  ;  after  Raphael. 

The  Empress  Eugenie  ;  after  TVinterhatter. 

The  '  Vierge  au  Linge  ' ;  after  Raphael. 

The  Lugano  Madonna ;  after  Luini. 

Sacred  and  Profane  Love  ;  after  Titian. 

Portrait  of  the  Empress  Josephine ;  after  David. 

Portrait  of  Giulio  Romano  ;  after  himself. 

Portrait  of  Hans  Holbein  ;  after  the  same. 

Lais  Corinthiaca  ;  after  the  same  (?). 

WEBER,  Otto,  a  native  of  Berlin,  was  a  pupil 
of  Steffeck  and  of  Couture,  and  won  a  high  reput- 
ation as  a  painter  of  cattle  in  landscapes.  He 
worked  in  Paris  and  in  London,  and  exhibited  fre- 
quently at  the  Salon,  gaining  medals  in  1864  and 
1869.  His  best  picture  was,  perhaps,  '  La  premiere 
Neige  sur  I'Alp  (Baviere),'  which  was  exhibited 
both  in  London  and  Paris,  and  is  now  in  the 
Melbourne  Gallery.  Weber  executed  many  com- 
missions for  Queen  Victoria.  He  died  in  London, 
Dicember  23,  1888. 

WEBSTER,  G.,  an  English  marine  painter,  born 
in  the  latter  part  of  the  18th  century.     From  his 
works  he  appears  to  have  been  to  the  Gold  Coast ; 
348 


he  also  accompanied  the  elder  Varley  on  a  sketch- 
ing tour  in  Wales,  in  1802.  His  works,  both  in 
oil  and  water-colours,  appeared  from  1797  to  1832 
at  the  Royal  Academy,  the  Society  of  British 
Artists,  and  the  British  Institution.  In  1825  he 
sent  a  '  Battle  of  Trafalgar'  to  the  Royal  Academy. 

WEBSTER,  Joseph  Samuel,  portrait  painter, 
practised  in  London  in  the  time  of  George  III. 
There  is  a  portrait  by  him  in  the  hall  of  the 
Drapers'  Company.  McArdell  and  J.  Watson 
scraped  a  few  plates  after  his  work.  He  occasion- 
ally made  excursions  into  the  ideal.  He  died  in 
London,  July  6,  1796. 

WEBSTER,  Moses,  an  English  landscape  and 
flower  painter  in  water-colours,  was  born  at  Derby 
in  1792.  In  his  early  years  he  worked  with  much 
skill  in  decorating  china  at  the  factories  in  his 
native  town,  and  at  Worcester.  He  subsequently 
devoted  himself  to  teaching  drawing  at  Derby  and 
Nottingham,  and  also  published  landscape  views. 
In  his  later  years  he  fell  into  poverty,  and  died  in 
an  alms-house  in  1870.  There  is  a  water-colour 
drawing  by  him  of  'Matlock  High  Tor,'  at  South 
Kensington. 

WEBSTER,  Simon,  an  English  painter  of  minia- 
ture and  landscapes  in  water-colour,  was  born 
towards  the  middle  of  the  18th  century.  He  was 
a  member  of  the  Society  of  Artists,  with  whom  he 
exhibited  miniatures,  1762-80,  and  from  whom  he 
received  a  grant  of  money,  in  1769,  to  recoup  his 
losses  from  a  fire.  He  contributed  to  Ackerman's 
'  Views  of  Cottages  and  Farm-Houses  in  England.' 
His  death  probably  took  place  about  1820. 

WEBSTER,  Thomas,  was  born  in  Pimlico  on 
the  20th  of  March,  1800.  His  father,  who  was 
a  member  of  the  Household  of  George  III.,  in- 
tended him  in  the  first  instance  for  the  musical 
profession,  and  the  boy  was  educated  in  St. 
George's  Chapel  with  a  view  to  his  becoming  a 
chorister.  But  he  soon  displayed  a  preference  for 
painting  over  music,  and  in  1820  entered  the  Royal 
Academy  as  a  student.  In  1823  he  exhibited  a 
portrait  group,  and  in  1825  obtained  the  first  medal 
in  the  school  of  painting.  Thenceforward,  for 
many  years,  his  pictures  were  annually  seen  on 
the  walls  of  the  Academy  and  other  exhibitions. 
His  favourite  subject  was  the  British  schoolboy, 
whom  he  represented  in  every  variety  of  class  and 
character.  His  earliest  important  picture,  '  Rebels 
shooting  a  Prisoner'  (a  scene  of  boy  mischief), 
was  exhibited  in  1825  at  the  Gallery  of  the  Society 
of  British  Artists.  Webster  was  elected  an  associ- 
ate of  the  Royal  Academy  in  1840,  in  which  year 
he  produced  '  Punch,'  a  picture  full  of  grotesque 
incident  and  individual  character.  In  1841  appeared 
two  pictures  by  which  perhaps  be  is  best  known 
to  the  present  generation,  and  which  are  famUiar 
to  all  by  the  engravings  of  the  Art  Union  of 
London— 'The  Smile,'  and  'The  Frown '—the 
subjects  of  which  are  drawn  from  the  familiar  lines 
about  the  schoolmaster  in  Goldsmith's  '  Deserted 
Village.'  'The  Boy  with  many  Friends,'  exhibited 
at  the  British  Institution  in  1842,  achieved  an 
almost  equal  success,  and  in  the  year  following  he 
painted  picture  after  picture  of  a  like  character — 
'The  Grandmother,'  'Going  to  School,'  'The  Im- 
penitent,' '  Sickness  and  Health,' and  'The  Pedlar.' 
In  1845  appeared  '  The  Dame's  School,'  made  by 
engravings  almost  as  familiar  as 'The  Frown,'  and 
'  The  Smile.'  In  1846  Webster  became  an  Acade- 
mician, and  from  that  time  all  his  principal  pictures 
were  to  be  seen  on  the  walls  of  the  Royal  Academy. 


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PAINTERS  AND  ENGRAVERS. 


A  School  Playground. 

ABO. 

A  Dame's  School. 

Peasant  Children. 

Village  Gossips. 

Hide  and  Seek. 


In  1844  he  painted  a  portrait  of  himself  and  his 
wife,  and  one  of  hia  latest  contributions  to  the 
Academy  was  another  portrait  of  himself,  in  1878. 
He  resigned  his  membership  of  the  Academy  in 
1876,  when  he  was  placed  in  the  list  of  Honorary 
Retired  Academicians.  He  died  at  Cranbrook, 
Kent,  in  1886.    Works : 

Good  Night. 

The  luterual  Economy 

of  Dotheboys  Hall. 
A  See-saw. 
A  SUde. 

A  Chimney  Comer. 
The  Truant.     {National  Gallery.) 
A  Dame's  School      [I^o.) 
Village  Choir.     {Do.) 

Portraits  of  the  artist's  father  and  mother.     (/?o.) 
Sickness  and  Health.     {S.  Kensington.) 
A  Village  Choir.     {Do.) 
Going  to  the  Fair.     {Do.) 
Returning  from  the  Fair.     {Do.) 
Contrary  Winds.     (Do.) 
Beading  the  Scriptures.     (Do.) 

WECHINGER,  Jeremias,  painter,  a  native  of 
Ansbaoh,  flourished  in  the  16th  century.  In  con- 
junction with  J.  (?)  Herlin  he  painted  a  '  Fight  with 
tlie  Amalekites,'  on  the  facade  of  the  Rathhaus 
at  NordHngen,  in  or  about  1594.  He  is  further 
known  by  a  '  Last  Supper,'  still  extant  (late  Hess 
Collection,  Ellwangen). 

WECHTLIN,  JoHANN  Ulrich,  (Wechttei,,  or 
VoECHTELiN,)  called  also  J.  Ulrich,  and  at  first 
J.  U.  Pilgrim,  was  a  painter  and  wood  engraver  of 
Strasburg  in  the  16th  century.  He  was  granted 
the  freedom  of  that  city  in  1514,  as  '  Hans  Wecht- 
tei the  Painter,'  and  is  thought  to  have  worked  at 
Strasburg  from  1508  to  about  1520.  No  pictures 
by  him  have  been  yet  identified.  He  was  distin- 
guished for  his  woodcuts  in  chiaroscuro,  which  he 
at  first  worked  in  three  blocks.  He  marked  his 
prints  with  two  pilgrims'  staves  crossed,  between 
the  letters  J°  V.  The  French  writers  call  him  '  Le 
Maitre  aux  Bourdons  Crois&s.'  Bartsch  has  de- 
scribed the  following  ten  prints  by  him  : 

Christ  on  the  Cross,  with  the  Magdalene  kneeling  at 

the  foot,  and  the  Virgin  and  St.  John  standing. 
The  Virgin  seated  in  a  Garden,  with  the  Infant  on  her 

knees.     {In  the  sti/le  of  Diirer). 
The  Virgin,  half-length,  with  the  Infant  in  her  arms. 
St.  Jerome  in  the  Desert,  with  a  book  in  one  hand,  and 

a  stone  in  the  other. 
St.  Sebastian  tied  to  a  tree.     {Style  of  Holbein.) 
A  Death's  Head  seen  in  front,  in  a  niche,  with  the  in- 
scription, Mundaiiae  foeiicitatis  gloria. 
Thisbe  and  the  dead  body  of  Pyramus,  with  an  inscrip- 
tion, Quid  Venus  in  venis  pos^itj  &c. 
Orpheus  charming   the   Brutes ;    inscription,   Orpheus 

vates. 
Alcon,  a  famous  Archer  of  Crete,  delivering  his  Son 

from  a  monstrous  Serpent. 
A  'Warrior  on  horseback,  armed  cap-4-pie,  accompanied 

by  a  Halberdier  on  foot. 
It  must  be  noted  that  the  identification  of  Johann 
Ulrich  Pilgrim  {Le  Maitre  aux  Bourdons  Croises) 
with  Johann  Wechtelin,  the  painter,  of  Strasburg, 
and  author  of  a  well-known  Passlo  Christi,  is  of 
modern  date.  It  was  first  announced  by  Loedel  in 
1851,  but  has  received  the  support  of  Passavant, 
and  other  respectable  authorities.  Nagler,  however, 
refuses  to  accept  their  conclusions,  and  maintains 
that  the  author  of  the  chiaroscuros  signed  lo.  V., 
known  as  J.  Ulrich  Pilgrim,  is  perfectly  distinct 
from  lo.  Vuechtlin,  the  master  of  the  Passio  of 
1508.  For  further  information  as  to  this  controversy 
see  H.  Loedel's  '  Des  Strassburger  Malers  und 
Formschneiders   Johann    Wechtlin,   genannt   Pil- 


grim,' Leipzig,  1863;  Passavant,  '  Le  Peintre- 
Graveur,'  vol.  iii.  p.  327;  Nagler,  'Die  Monogram- 
misten,'  vol.  iv.  n.  209. 

WEDGWOOD,  John  Taylor,  engraver,  was  bom 
about  1783.  He  practised  in  London,  and  in  1812 
was  employed  on  plates  from  the  Elgin  marbles. 
He  worked  in  line,  and  has  left  some  good  historical 
plates  as  well  as  a  series  of  portraits,  among 
others  those  of  Byron,  Scott,  and  Bernardin  de 
St.  Pierre.  He  died  at  Clapham  on  the  6th  March, 
1856. 

WEEKS,  Edwin  Lord,  painter,  was  born  at 
Boston,  U.S.A.,  in  1849.  He  studied  in  Paris  at 
the  Ecole  des  Beaux  Arts,  and  also  under  G^rome 
and  Bonnat.  Early  in  his  career  he  visited  Morocco, 
Tangier,  Damascus,  Cairo,  and  Jerusalem,  and 
thenceforth  devoted  himself  to  the  painting  of 
Oriental  scenes.  He  showed  two  figure  subjects 
at  the  Royal  Academy  in  1878,  but  after  that  date 
exhibited  entirely  in  Paris.  He  was  a  member  of 
the  Soci(5t^  des  Artistes  Frangais,  and  obtained  an 
honourable  mention  at  the  Salon  of  1884,  a  third- 
class  medal  in  1889,  and  a  gold  medal  at  the  Paris 
Exhibition,  1900.  He  became  a  Knight  of  the 
Legion  of  Hondur  in  1896.  Among  his  more  im- 
portant works  may  be  mentioned:  'A  Hindoo 
Temple,  Bombay,'  and  'A  Souvenir  of  Jeypore' 
(1884),  'Tlie  Hour  of  Prayer  in  the  Peari  Mosque, 
Agra'  (1889),  'Pilgrims  Crossing  the  Jordan,' 
'  Jerusalem  from  the  Bethany  Koad,'  '  Windows  of 
the  AUiambra,' '  The  Arabian  Story-teller,'  and  '  The 
Princess  of  Bengal  receiving  the  Prince  of  Persia ' 
(1903).  Weeks  also  occasionally  contributed  to 
Harper^s,  Scribner's,  and  other  magazines, 
articles  written  and  illustrated  by  himself.  He 
died  at  his  residence  in  Paris  in  November  1903. 

M.H. 

WEELING,  Anselm,  was  born  at  Bois-le-Duc 
in  1675.  His  father,  an  officer  in  the  service  of 
the  States  General,  intended  him  for  the  profession 
of  arms,  but  yielding  to  the  disposition  he  dis- 
covered for  art,  finally  placed  him  under  an  obscure 
painter,  named  Delang.  His  real  training,  how- 
ever, was  won  by  the  study  of  the  most  fashionable 
masters  of  the  Dutch  school,  particularly  Godfried 
Schalcken  and  Adriaan  van  der  Werfi.  His  best 
pictures  are  those  he  painted  in  imitation  of 
Schalcken's  candle-lights.  In  the  latter  part  of 
his  life  he  is  said  to  have  given  way  to  intem- 
perance.    He  died  in  1749. 

WEEN.    See  Veen. 

WEENIX,  Jan,  (or  Weeninx.)  son  of  Jan  Bap- 
tist Weenix,  was  born  at  Amsterdam  in  1640. 
He  was  instructed  by  his  father,  and,  at  the  death 
of  the  latter,  had  made  sufficient  progress  to  prose- 
cute his  studies  without  further  assistance.  Though 
less  versatile  than  his  father,  he  also  painted  land- 
scapes, animals,  figures,  portraits,  and  architecture. 
But  he  particularly  excelled  in  the  representation 
of  dead  game,  in  which  he  may  be  said  to  have 
equalled  any  artist  of  his  country.  His  celebrity 
in  that  branch  induced  the  Elector  Palatine  Johann 
Wilhelm,  to  invite  him  to  his  court,  and  for  him 
he  painted  many  of  his  best  pictures.  Jan  Weenix 
died  at  Amsterdam  in  1719.     Works: 

Amsterdam.  R.  Museum.     The  Country  House. 
„  „  Male  Portrait. 

Dogs. 
„  „  Three  trophies  of  Game. 

Berlin.  Museum.     Princess  Charlotte  of  Orleans. 

„  „  Two  pictures  of  Game. 

„  „  Flowers. 

Dre.sden.  Gallery.    Four  trophies  of  dead  Game. 

349 


A   BIOGRAPHICAL  DICTIONARY  OF 


Haarlem.  Museum.    Portrait  of  Anthony  de  Sad- 

elaer. 
„  Portrait  of  MargarethaVersijl, 

wife  of  Sadelaer. 
Loudon.     Dulwtch  Gall.     Shepherd  clipping  a  Dog. 

„         National  Gall.     Dead  Game  and  Dog. 
Munich.  Gallery.    Woman  asleep  at  the  Foot  of 

a  Monument. 
„  „  A  Boar  Hunt. 

^,  „  Ten  pictures  of  Game. 

Paris.  Louvre.     Game  and  hmiting  Equipment. 

,  „  Game. 

„  „  A  Seaport. 

Petersburg.     Hermitac/e.     The  Dealer  in  Game. 

„  Two  trophies  of  dead  Game. 

Rotterdam.         Museum.     Tobit   asleep  under  the  Vine. 
(Ascribed  to  J.  B.  Weenix.) 
^,  „  A  Dead  Swan. 

The  Hague.        Museum.     The  Dead  Swan.     (A  master- 
piece.) 
„  »  Game. 

Vienna.  Gallery.     A  Dead  Hare. 

He  usually  signed  liis  pictures  J.  Wee7>i.T. 

WEENIX,   Jan    Baptist,   (or    Weeninx,)  was 
born  at  Amsterdam  in  1621.     He  was  the  son  of 
an  older  Jan  Weenix,  an  architect  of  considerable 
celebrity,  who   died  when   Jan    Baptist  was  very 
young,  so  that  lie  was  placed  by  his  mother  with 
a  bookseller,  with  the  intention  of  bringing  him  up 
to  that  business.     But  such  was  hie  inclination  for 
drawing,  that  be  was  permitted  to  follow  the  bent 
of   his   genius,  and   he   first   became  a  scholar  of 
Johannes  Mikcker,  but  afterwards  of  Abraham  Bloe- 
maert.     Under  the  latter  master  his  progress  was 
rapid.      On  leaving  the  school  of  Bloemaert,  he 
passed  two  years  under  Nicolaes  Moijart.     When 
he  was   eighteen  he  found  himself  able  to  stand 
alone,  and  painted   several   pictures   which  were 
very  favourably  received.     He  now  (1642)  set  out 
on  a  visit  to  Italy.     His  talents  recommended  him 
to   many  of  the   principal   personages    at   Rome 
Cardinal  Pampliili  was  among  his  protectors,  and 
not    only   favoured    him   with    commissions,   but 
settled  a  pension  on  him.     That  prelate  was  de- 
sirous of  retaining  Weenix  at  Rome,  but  the  solicit- 
ations of  his  family,  and  his  desire  to  shine  among 
his    own    countrymen,  induced  him  to   return  to 
Holland,  after  an  absence  of  four  years.     He  at 
once   received  extensive  employment.     He  prac- 
tised at  Amsterdam  until  1649,  when  he  moved  to 
Utrecht.      In    1657   he    installed   himself    at  the 
ClAteau  Ter  Mey,  near  Utrecht,  and  there,  having 
acquired  the  reputation  of  one  of  the  most  distin- 
guished artists  of  his  country,  he  died,  in  the  prime 
of  life,  in  1660.    Weenix  painted  history,  portraits 
genre    subjects,    landscapes,    animals,    and    dead 
game,  but  bis  forte  was  Italian  seaports,  enriched 
with    noble  architecture,  and   filled   with   figures. 
In  the  Duke  of  Sutherland's  gallery  there  is  a  land- 
scape by  J.  B.  Weenix,  in  which  there  is  a  tomb 
inscribed  with  the  famous  epitaph  : 

Cy  git  le  pere,  cy  git  la  m^re, 
Cy  git  la  soeur,  cy  git  la  ivire, 
Cy  git  la  femme,  et  le  man, 
Et  il  n'y  a  que  deux  corps  ici. 

1651.     Giovan.  liattista  Weema^. 

Works : 

Amsterdam.         R.  Mus.  Dead  Game. 

Antwerp.  Museitm.  An  Italian  Seaport. 

Berlin  Museum.  Erminia  and  the  Shepherds. 

Blenheim  Palace.  Italian    Seaport.      (A    master- 
piece.) 

Dresden.  Gallery.  Meeting  of  Jacob  and  Esau. 

„  Dog  and  Hen, 

Glasgow.  Gallery.  Kuins  of  a  Temple. 

350 


London.     National  Gal. 
Munich.  Gallery. 


Paris. 
Petersburg. 

Vienna. 


Louvre. 
Hermitai/e. 

»» 
Gallery. 


Hunting  scene,  man  '  cleamng  *■ 

a  Deer. 
Knife-grinder  and  other  figures^ 

before  a  fine  Building. 
Girl  sleeping  before  a  Building 

with  Columns. 
Corsairs  repulsed. 
The  Pioman  Campagna. 
A  Seaport. 
A  Seaport. 

his    pictures    Gio.  Batta. 


He   usually   signed 
Weenix, 

Bartsch  attributes  two  etchings  to  J.  B.  Weenix,. 
'The  Bull,'  and  'The  Man  seated;'   Weigel  de- 
scribes five  others,  all  containing  animals  or  figures. 
WEERDT,  or  WEERT.     See  De  Weebt. 

WEESOP,  ,  is  stated,  in  the  'Anecdotes  of 

Painting  in  England,'  to  have  arrived  here  in  1641, 
a  little  before  the  death  of  Van  Dyck,  of  whose 
manner  he  was  a  successful  imitator.  He  left 
England  in  1649,  saying,  "  he  would  never  live  in 
a  country  where  they  cut  ofiE  their  king's  head,  and 
were  not  ashamed  of  the  action." 
WEET.     See  Duwett. 

WEGELIN,  Adolf,  German  pamter  ;  bom  at 
Kleve  in  1810  ;  after  a  course  of  study  at  the 
Dusseldorf  Academy,  he  continued  to  work  at 
Munich,  and  in  1836  settled  at  Cologne,  where  he 
was  commissioned  by  Frederick  William  IV.  to 
execute  water-colour  drawings  of  ancient  buildings 
in  the  Rhenish  district.  In  1861  he  was  appointed 
Court  painter,  and  continued  to  produce  arclii- 
tectural  sketches,  such  as  '  Klosterkirche,'  '  Kirche 
St.  Gereon,'  '  Bruges,'  &c.  He  died  at  Cologne, 
January  18,  1881. 

WEGENER,  JoHANN  Friedrich  Wilhelm, 
German  painter;  bom,  April  20,  1812,  at  Dresden; 
studied  at  Copenhagen,  and  also  at  the  Dresden 
Academy  under  Dahl,  his  art  education  being  com- 
pleted by  travel  in  Denmark,  Switzerland,  Italy 
and  France.  In  1860  he  was  appointed  painter  to 
the  Court  of  Saxony,  and  his  drawing  of  animals 
was  specially  admirable,  most  of  his  subjects  deal- 
ing with  episodes  in  the  life  of  animals.  He  died 
at  Dresden-Gruna,  July  11,  1879. 

WEGENEIi,  Karl  Gdstav,  German  painter; 
bom  at  Potsdamin  1815  ;  was  a  pupil  of  the  Berlin 
Academy,  and  subsequently  travelled  for  the  pur- 
pose of  study  in  North  Germany  and  Scandinavia. 
He  was  appointed  Royal  Prussian  Court  painter, 
and  produced  some  dull  and  conventional  land- 
scapes to  prove  his  qualifications  for  such  a  post. 
He  died  at  Beriin,  February  12,  1887. 

WEGERT,  August,  painter,  born  at  Berlin  in 
1801,  was  a  pupil  of  Schadow.  He  painted  por- 
traits and  historical  pictures,  and  in  1825  com- 
peted for  the  grand  prize,  the  subject  of  his  com- 
position being  '  Danae  and  Perseus.'  His  non- 
success  is  said  to  have  so  preyed  upon  his  mind 
as  to  have  caused  his  death,  which  took  place 
in  1825. 

WEHLE,  Heinbioh  Theodor,  draughtsman  and 
painter,  was  born  at  Fortschen,  near  Goriitz,  in 
1778.  He  learned  drawing  under  Nathe,  and  in 
1793  entered  the  Dresden  Academy,  and  studied 
landscape  under  Klengel.  In  1802  he  went  to 
Russia,  with  Choiseul  Gouffier,  and  from  thence 
was  sent  by  the  Czar  to  make  drawings  in  the 
Caucasus  and  Persia.  In  this  tour  he  was  accom- 
panied by  Count  Puschkin.  He  died  at  Kreba, 
near  Goriitz,  in  1805. 

WEHNERT,  Edward  Henry,  painter  in  water- 
colours,  was  born  in  London  in  1813.     His  parents 


PAINTERS  AND  ENGEAVERS. 


■were  German,  and  sent  him  to  Gottingen  for  his 
education.  He  returned  to  England  ahout  1833, 
and  began  the  study  of  art.  He  at  first  exhibited 
in  Suffolk  Street  and  at  the  British  Institution. 
He  afterwards  worked  for  a  time  in  Paris  and  in 
Jersey,  returning  to  London  in  1837.  He  was 
elected  an  associate  of  the  New  Society  of  Painters 
in  Wiiter-Colours  the  same  year.  In  1845  he  was 
a  competitor  at  Westmin.ster  HaO.  In  1858  he 
visited  Italy,  but  weak  health  prevented  his  doing 
as  much  there  as  he  had  hoped.  He  died,  unmar- 
ried, on  the  15th  of  September,  1868.  His  works 
■were  as  a  rule  large  drawings  of  iigure  subjects, 
good  in  drawing  but  bad  in  colour,  and  German  in 
general  character.     Works  : 

George  Fox  preaching  in  a  tavern.     {South  Kensington 

Museum.) 
The  Triumph  of  Justice,  cartoon.    (South  Kensinyton 

Museum.) 

WEIDE,  Roger  von  der.  See  Van  der  Weyden 
WEIDITZ,  Christoph,  painter  and  drauglits- 
man  on  wood,  flourished  at  Strassburg,  1537-1565  ; 
he  died  before  1572.  In  1537  he  took  over  the 
printing  business  of  J.  Albrecht,  in  partnership 
with  David  Kannel,  or  Kandel.  They  gave  up 
the  press  in  1539,  and  issued,  so  far  as  is  known, 
but  one  book,  '  Bericht  uud  anzeigen  aller  Herren 
Geschlecht  der  loblichen  Statt  Augsburg,'  1538. 
This  work  was  reprinted,  with  additions,  at  Augs- 
burg, 1550,  and  at  Frankfort,  1580.  The  wood- 
cuts, representing  the  arms  of  leading  Augsburg 
families,  are  signed  with  tlie  initials  G.  W.  (For 
other  members  of  the  Widitz  or  Weiditz  family, 
see  Weiditz,  Hans.)  C_  j)_ 

WEIDITZ,  Hans,  draughtsman  on  wood,  and 
one  of  the  best  illustrators  of  the  Augsburg  School, 
flourished  about  1516-1536.  He  worked  till 
1622  at  Augsburg,  where  kinsmen  of  his,  including 
a  sculptor  and  a  goldsmith,  both  named  Christoph, 
were  settled.  Then  he  removed  to  Strassburg, 
the  original  home  of  his  family.  Only  two  of  his 
exceedingly  numerous  illustrations  are  signed, 
with  the  initials  H.  W.  In  spite  of  that  signature 
his_  style  has  been  confused  with  that  of  Burgk- 
mair,  to  whom  numerous  woodcuts  by  Weiditz 
are  attributed  in  most  books  of  reference.  Since 
1891  he  has  often  been  called  "  Pseudo-Burgkmair," 
"Der  Petrarcameister,"  or  "The  Master  of  the 
Trostspiegel."  His  name  is  given  in  a  Latinized 
form  as  "Joannes  Guidictius"  in  'Horbarum  Viva> 
Eicones,'  by  Brunfels  (Strassburg,  1530),  and  as 
"Hans  Weyditz"  in  the  German  translation 
(1532).  At  Augsburg  he  was  employed  by  several 
'printers  and  publishers.  Miller,  S.  Otnuir,  J.  Schdn- 
sperger,  jun.,  but  mainly  by  the  firm  of  Grimm 
and  Wirsung,  his  designs  for  the  ■\voodcuts  in 
Petrarch's  prose  treatise,  'De  Kemediis,'  being 
among  his  most  admirable  works.  The  German 
translation  of  the  treatise  for  which  these  cuts 
were  prepared,  known  as  '  Gliicksbuch  '  or  '  Trost- 
spiegel,' was  not  published  until  1532  by  Steiner 
(who  after  the  failure  of  Grimm  had  bought  up  all 
the  stock-in-trade  of  the  latter),  but  the  last  wood- 
cut is  dated  1520,  the  translation  having  been 
cornpleted  in  the  following  yesr.  In  Strassburg 
Weiditz  appears  to  have  worked  for  the  publisher 
J.  Schott,  and  is  traceable  up  to  1536.  It  was 
for  this  man  that  the  German  translation  of  the 
Latin  herbal  of  Otto  Brunfels  was  executed,  and 
Weiditz  is  mentioned  in  the  preface  to  the  first 
volume  in  terms  of  the  highest  praise  as  the 
illustrator   of   the    work.     In   Cicero's    'OfiBces,' 


published  by  Steiner  (1531),  his  monogram  H.  TF. 
appears  on  f.  73v.,  accompanied  by  the  cipher 
H.  6.6.,  which  probably  refers  to  the  craftsman 
who  cut  the  blocks.  The  author  of  the  illustra- 
t'ons  in  all  these  books  is  clearly  identical  with 
the  '  Petrarcameister,'  the  illustrator  of  the  'Gliicks- 
buch,' and  judging  from  these  woodcuts,  Herr 
Roettinger  is  able  to  ascribe  many  more  to  the  same 
master.  Over  ninety  books  are  enumerated  by  him 
which  contain  woodcuts  from  drawings  by  Weiditz ; 
of  these,  fifty-two  belong  to  his  Augsburg  time, 
and  the  remainder  to  the  period  of  his  sojourn  at 
Strassburg.  Herr  Roettinger  also  ascribes  two 
paintings  to  Weiditz:  a  'Pieti'  in  the  Gallery  at 
Vienna,  of  1519-20,  and  a  picture  in  the  Old 
Pinacothek  at  Munich,  of  the  'Holy  Family  with 
SS.  Joachim  and  Anna,'  but  the  attribution  of 
these  pictures  to  the  Augsburg  master  is  not 
altogether  convincing.  The  failure  of  his  em- 
ployers probably  occasioned  the  departure  of 
Weiditz  from  Augsburg.  Hundreds  of  woodcuts 
designed  by  him  for  publishers  about  1519- 
1621  were  published  for  the  first  time  by  Steiner 
after  1530,  while  others  never  saw  the  light  till 
1561,  when  the  blocks  were  owned  by  Egenolph 
at  Frankfort.  The  Strassburg  work  of  Weiditz 
was  published  by  Knoblouch,  Kbpfel,  and  others, 
especially  Schott.  A  brief  list  of  the  must  im- 
portant books  illustrated  by  Weiditz  is  subjoined  : 

1.  Adgsbdrg  Period. 

Faher    (Aventinus),    'Musicse    rudinaenta.'      Miller, 

1516. 
Plautus,    'Zwo   Comedian.'      Grimm   and  'Wirsuag, 

1518. 
Hutteu, '  Phalarismus  '  and  '  Outi?.'    Miller,  1518. 
Ficinus, '  De  Epidemiae  morbo.'     Grimm  and  Wirsung, 

1518. 
"Wirsung,    '  Eitterspiel    des    Turuiers.'      Grimm    and 

■\Vlrsung,  1518. 
Hutteu,  '  Exhortatorium,  Epigrammata.'   Miller,  1519. 
'  History  von  dem  Kayser  Friderich  I . '    AVeissenburger 

Landshut,  1519. 
Faber,   '  Oratio   f  unebris  in  depositione  Maximilian].' 

Grimm  and  Wirsung,  1519. 
'  Liber  Selectarum  Cantionum.'   Grimm  and  Wirsung, 

1520.   Containing  the  arms  of  Matthaus  Lang  printed 

in  colours. 
Several  books  containing  a  woodcut  of  the  election  of 

Charles  Y.     1520. 
'  Devotissimae    Jleditationes    de     vita    Jesu    Christi.' 

Grimm  and  Wirsung,  1520. 
'Tragedia    von   Calixtus   and    Melibea.'    Grimm   and 

Wirsung,  1520. 
'  Scamnalia  diocesis  Frisingensis.'  Liechtenstein,  VLnice, 

1520. 
Cicero,  'Biichlein  von  dem  Alter.'     Grimm,  1520. 
Cicero,  German  translation  of   '  De  Officiis.'    Steiner 

1531. 
Petrarch, '  Von  der  Artzney  bayder  Gliick  '  (261  cuts). 

Steiner,  1532  (the  cuts   were   used  in  many   other 

books). 
'  Novi  Teatameati  historia  eflSgiata.'    Egenolph,  1551. 
'  Sanctorum  et  Martyrimi  Christi  Icones.'    Egenolph, 

1551. 
Many  other  books  contain  title  borders,  heraldic 
and  ornamental  woodcuts  and  initials  by  Weiditz. 


2.  Strassburg  Period. 

Luther, '  xxvii.  Predig.'    Schott,  1523. 
'  Concordantz  des  Newen  Testaments.'     Schott,  ]524. 
'  Das  Alte  Testament  Deutsch.'     Knoblouch,  1524. 
'Das  Neiiw  Testament.'     Knoblouch,  1525. 
Homer's  '  Iliad  '  and  '  Odyssey.'     Kopfel.  1525. 
Huttichius, '  Imperatorum  libellus.'     Kopfel,  1525. 
Other, '  Christlich  Leben  und  Sterben.'     Beck,  1528. 

351. 


A  BIOGRAPHICAL  DICTIONARY  OF 


Dioscorides, ' Pharmacorum  libri  viii.'    Schott,  1529. 
Brunfels, '  Herbarum  Vivse  Eicones.'    Schott,  1530. 
■  Tacuini  sex  rerum,'  etc.     Schott,  1531. 
Sallustius,  *  Chronica,'  etc.     Cammerlander,  1534. 
Tengler, '  Layenspiegel.'    Albrecht,  1536. 

Some  important  separate  woodcuts  by  Weiditz 
have  been  attributed  to  Diirer,  Burglcmair,  or 
Cranach. 

Portrait  of  Maximilian   I.  in  an   ornamental  frame. 

'Diirer,' B.  153. 
Maximilian  I.  hearing  Mass.    '  Diirer,'  B.  app.  31. 
Memorial  of  the  Death   of    Maximilian  I.     '  Burgk- 

mair,'  P.  100. 
St.  TJlrich  defeating  the   Huns.    'Cranach,'  B.  74; 

'  Burgkmair,'  P.  109. 
View  of  Augsburg,  published  by  Grimm  and  Wirsung, 

1521. 
Ornamental  Alphabet,  with  Children,  often  attributed 

to  Diirer.    '  Burgkmair,'  P.  130. 

Authorities:  W.  von  Seidlitz,  '  Der  Illustrator 
des  Petrarca,' '  Jahrbuch  d.  k.  preuss.  Kunstsamml.' 
xii.  158. 

H.Rbttinger, 'Hans  Weiditz  der  Petrarcameister.' 
Strassburg,  1904.  C.  D.  &  C.  J.  Ff. 

WEIGAND,  KoNEAD,  German  painter ;  born, 
December  12,  1842,  at  Nuremberg  ;  became  a 
pupil  of  Kreling,  and  studied  under  W.  von  Diez 
at  the  Munich  Academy.  He  painted  historical 
subjects,  such  as  '  Luther  entering  Worms,'  in 
1879,  and  '  The  Wedding  of  Albrecht  Dvirer,'  a 
fresco,  at  Munich,  &c.  He  died  at  Munich, 
Decembers,  1897. 

WEIGEL,  Chbistoph,  a  German  engraver,  was 
born  at  Redwitz  in  Boliemia,  in  1654.  Between 
1666  and  1691  he  visited  successively  Hof,  Jena, 
Frankfort,  Vienna,  and  Augsburg,  to  study  the 
different  branches  of  engraving.  He  fin.illy  settled 
at  Nuremburg  as  an  engraver  and  dealer  in  prints. 
He  died  in  1725.  He  engraved  a  series  of  subjects 
from  the  Bible,  entitled  '  Sacra  Scriptura  loquens  in 
imaginibus,'  &c.  Each  of  the  two  hundred  and 
ten  plates  contains  four  subjects,  which,  appear  to 
be  all  engraved  by  himself,  from  his  own  designs. 
Tliere  ia  also  a  mediocre  mezzotint  by  him,  in- 
scribed '  Carolus  V  Dei  gratia  LotharingiiB  Barri, 
&o.  Dux.     C.  Weigelf.  et.  ex.  1688.' 

WEIGEL,  Hans,  was  a  draughtsman,  engraver 
on  wood,  and  printer,  at  Nuremburg  ;  he  was  at 
work  as  early  as  1536,  and  died  in  or  about  1590. 
He  marked  his  cuts  B  W.  These  letters  are  found 
on  portraits,  and  on  a  woodcut  of  two  unruly  horses, 
one  of  which  appears  to  have  just  thrown  his  rider. 
He  is  also  known  by  a  book  of  costumes,  by  a 
portrait  of  Hans  Sachs,  and  by  some  ornamental 
titles,  some  of  which  have  his  initials,  or  the  in- 
scription— Gedruckt  zn  Nvrnberg  hey  Hans  Weygel 
Fortnschneyder,  hey  dem  Sonnenbad. 

WEIJDMANS,  N.,  (or  Weijdeman  ?)  is  mentioned 
by  Strutt  as  the  engraver  of  a  small  original  print 
of  a  country  surgeon  performing  an  operation  on 
a  woman's  forehead.  There  were  two  portrait 
painters  of  the  name  of  Weijdeman  ;  Fredrik 
WiLLEM,  who  was  bom  in  1668,  and  died  in  1750; 
and  Karel  Emilids,  his  cousin,  or  nephew,  born 
in  1685,  and  died  in  1735.  The  latter  is  said  also 
to  have  engraved. 

WEIJERMAN,  Jakob  Camfo,  landscape  and 
flower  painter,  was  born  at  Breda  in  1679,  and  ia 
said  to  have  been  a  scholar  of  Ferdinand  van 
Kessel.  While  quite  young  he  showed  much  talent, 
but  a  very  dissolute  character.  His  mother  ex- 
pelled him  from  home,  and  he  went  first  to  Antwerp 
and  then  Paris,  improving  his  art,  but  committing 


fresh  excesses.  At  Lyons  he  formed  an  intimacy 
with  Cartouche,  and  at  Rome  with  Van  Dyck,  but 
could  never  rest  long  in  one  place.  From  Rome  he 
travelled  through  Germany  to  the  Hague.  Here  he 
eloped  with  a  widow  to  London,  where  he  squan- 
dered her  property  and  then  returned  to  Holland. 
He  next  published  a  periodical  which  was  success- 
ful ;  but  an  attack  upon  the  East  India  Company 
led  to  his  imprisonment  for  life.  He  died  in 
prison  at  the  Hague  in  March,  1747.  He  published 
the  '  Lives  of  the  Dutch  Painters,'  in  four  volumes, 
a  compilation  from  Houbraken,  disfigured  by  gross 
falsehoods  and  absurdities.  There  is  a  flower-piece 
by  him  in  the  Amsterdam  Museum. 

WEINER,  Hans,  (or  Weinher,  sometimes  called 
JoHANSSEN  Weyners,)  was  a  painter  and  engraver 
of  Weilheim,  in  Bavaria,  and  was  in  the  service  of 
the  Duchess  MaximiUana  as  valet  de  chambre. 
He  studied  under  Frederik  Sustris,  and  published 
his  first  print  in  1610.  He  afterwards  worked  under 
Christoph  Schwarz,  after  whom  he  engraved  several 
plates.  On  an  etching  by  him  of  Christ  seated 
on  a  stone,  and  surrounded  by  soldiers  holding 
lances  and  flags,  is  a  monogram  formed  of  H  and 
IF,  with  a  bunch  of  grapes.  It  is  to  be  noted  that 
the  initials  i/JC  were  used  by  other  artists  of  about 
the  same  period,  such  as  Hans  Weigel  (q.  v.),  and 
it  is  possible  that  some  of  the  prints  attributed  to 
Weiner  may  be  by  other  hands. 

WEINHER,  Peter,  a  designer  'and  engraver, 
and  also  assayer  of  the  Mint  to  the  Duke  of  Bavaria, 
lived  at  Munich  about  1580.  Bartsch  has  described 
twelve  prints  by  liira.  He  signed  his  engravings 
with  his  name,  or  with  the  initials  P.  W.  V.  B. 
(Peter  Weinher  Vadarinus  Bavarus),  and  occa- 
sionally W.  B.  F.  (Weinherus  Bavarus  Fecit). 

WEINHOLD,  Johann  Georg,  German  painter 
and  lithographer;  born  at  Leipzig,  1813;  studied 
with  Reindl  at  Niiremberg,  and  subsequently  at 
Munich  and  at  Dresden.  It  was  here  that  he 
executed  lithographs  of  some  of  the  Old  Masters, 
and  he  travelled  in  France,  Spain  and  Italy,  where 
he  found  numerous  choice  examples  for  the  exer- 
cise of  his  art.  He  died  at  Rome,  February  24, 
1880. 

WEINSCHROTER,  Fritz,  a  painter  whose 
name  appears  among  the  list  of  Niiremberg  masters 
in  1363  and  1370.  He  may  have  been  a  son  or 
brother  of  the  more  celebrated  artist  Sebald  Wein- 
schrbter,  and  must  certainly  have  been  his  pupil. 
His  name  appears  in  the  tax-payers'  registers  of 
1392  and  1397  as  tenant  of  a  house  in  a  certain 
quarter  of  the  city  ;  from  the  register  of  the 
year  1400  we  gather  that  his  successor  here  was 
Master  Berthold  Landauer,  and  it  is  not  impro- 
bable that  this  great  painter,  one  of  the  ablest 
representatives  of  the  School  of  Niiremberg  in 
the  early  fifteenth  century,  was  a  pupil  of  Fritz 
Weinschroter.  No  works  by  Weinschroter  are 
known  at  present.  C.  J.  Ff. 

WEINSCHROTER,  Sebald,  of  Niiremberg, 
Court  painter  to  the  Emperor  Charles  IV.,  men- 
tioned as  a  citizen  of  Niiremberg  in  1360,  in  which 
year  he  received  a  grant  of  lands  from  the 
Emperor.  He  was  probably  born  between  1318 
and  1328  and  may  have  been  the  son  of  a  painter 
named  Weinschroter,  who  is  mentioned  as  early  aa 
1311.  Sebald  was  banished  from  Niiremberg  for 
his  share  in  the  insurrection  of  1348,  but  appears 
to  have  been  living  there  again  in  1357,  in  which 
year  he  bought  a  house,  the  same  which  over 
one  hundred  and  thirty  years  later  was  acquired 


PAINTERS  AND  ENGRAVERS. 


by  Michael  Wol,c;emut  (in  1493).  Weinschroter 
died  between  1363  and  1370,  in  which  year  he  is 
spoken  of  as  deceased.  No  worlvs  by  him  are 
kiiown  in  the  present  day.  C  j  pf_ 

WEIR,  Robert  Walter,  American  painter ; 
bom  at  New  Rochelle,  U.S.A.,  June  18,  1803; 
became  a  pupil  of  Jarvis ;  studied  at  Florence 
with  Benvenuti,  and  afterwards  at  Rome.  On  his 
return  to  New  York  he  wag  made  a  member  of  the 
American  National  Academy,  and  subsequently 
became  Professor  at  the  West  Point  Military 
Academy,  a  position  which  he  held  for  over  forty 
years.     He  died  in  1889. 

WEIROTTER,  Franz  Edmdnd,  was  bom  at 
Innspruck  in  1730.  After  learning  the  rudiments 
of  design  in  his  native  city  and  at  Mayence,  he  went 
to  Paris,  where  he  studied  under  J.  G.  Wille,  and 
became  an  able  landscape  draughtsman.  He  after- 
wards visited  Italy,  and  brought  back  to  Paris  a 
large  collection  of  sketches  in  red  chalk  and  sepia. 
In  1767  he  was  appointed  Professor  to  the  Vienna 
Academy.  He  died  at  Vienna  in  1771.  He  etched 
a  great  number  of  landscapes,  views  of  mins, 
bridges,  churches,  cottages,  &c.,  which  are  formed 
into  sets  and  numbered.  A  collection  of  several 
series,  consisting  in  all  of  one  hundred  and  eighty- 
six  plates,  was  published  in  1760  and  succeeding 
years.     The  following  are  among  the  best : 

A  set  of  twelve  Views  in  Normandy. 

Twelve  Views  in  Italy  ;  dedicated  to  Prince  Kaunitz. 

A  set  of  twelve  Views  in  Italy ;   dedicated  to  Prince 

Starenaberg. 
Twelve  Views  in  Italy ;  dedicated  to  Duke  Albert  of 

Saxe-Tescben. 

WEISHUN,  Samdel,  was  a  German  engraver,  who 
worked  from  1627  to  1650,  and  resided  at  Dresden. 
He  produced  a  considerable  number  of  portraits, 
which  are  executed  with  the  burin.  Amonir  them 
is  a  head  inscribed  Daniel  Senuestus,  Wittenh. 
Profess.  1627.  According  to  Professor  Christ,  he 
engraved  a  set  of  portraits  of  the  Princes  of 
Saxony.  Zani  states  that  he  was  a  goldsmith  as 
well  as  a  designer  and  engraver. 

WEISS,  Baktholomaus  Ignaz,  painter  and 
etcher,  was  born  at  Munich  in  1730.  He  was  a 
son  and  pupil  of  Franz  Joseph  Weiss.  He  painted 
miniatures  and  portraits  in  oil,  and  was  miniature 
painter  to  the  Bavarian  court.  He  was,  however, 
best  known  by  his  numerous  etchings  of  portraits, 
and  of  historical,  Biblical,  and  allegorical  subjects. 
Some  of  these  were  after  Rembrandt,  Salvator 
Rosa,  and  Dietrich,  but  the  majority  were  from 
his  own  designs.     He  died  at  Munich  in  1815. 

WEISS,  David,  engraver,  was  born  at  Stiigno, 
in  Tyrol,  in  1775.  He  studied  under  Fiiger  in 
Vienna,  and  afterwards  in  Italy.  After  his  re- 
turn he  settled  in  Vienna,  and  was  chiefly  em- 
ployed in  engraving,  in  stipple,  small  portraits  of 
notable  persons  for  pocket-books  and  almanacs. 
He  died  in  1846.  His  best  plate  is 'The  Storm,' 
after  Fendi. 

WEISS,  Eleazar.     See  Albin. 

WEISS,  Ferdinand,  was  a  portrait  painter  and 
draughtsman,  who  worked  extensively  for  the 
Berlin  Art  Union.     He  died  at  Beriin  in  1878. 

WEISSBROD,  Kael  Wilhelm,  an  engraver,  was 
born  at  Ludwigsburg  about  1750.  He  was 
probably  first  instructed  by  his  father,  Johann 
Philipp  Weissbrod  (who  was  court  painter  from 
1736  to  1790)  ;  but  subsequently  he  went  to  Paris, 
where  he  became  a  pupil  of  J.  G.  Wille,  and  en- 

VOL.  V,  A  A 


graved  a  great  number  of  landscapes  after  Ber- 
chem,  Bril,  Hobbema,  Ruysdael,  and  other  masters. 
About  1780  he  went  to  Hamburg,  where  he  etched 
a  few  landscapes,  and  made  both  drawings  and 
etchings  from  the  coins  in  the  cabinet  of  Count 
Bentink.  He  also  executed  several  plates  for  the 
Poullain,  Choiseul,  and  Praslin  'Galleries.'  He 
died  in  1806. 

WEISSE,  GoTTHELF  Wilhelm,  was  bom  at 
Dresden  in  1761,  and  was  instracted  in  engraving 
by  Stolzel  and  afterwards  by  Giuseppe  Canale. 
He  had  already  given  proof  of  ability,  when  he 
was  invited  to  the  court  of  Hesse-Cassel,  where 
the  Landgrave  appointed  him  his  principal  en- 
graver. Among  others,  we  have  the  following 
[irints  by  him  : 

The  Landgrave  of  Hesse-Cassel ;  after  Oraff. 

Tbe  Landgravine  of  Hesse-Cassel ;  after  Tischhein, 

Apollo  playing  on  the  Lyre  ;  after  the  same. 

A  landscape,  with  a  "Waterfall ;  aftfr  Everdingen. 

A  Landscape,  moonlight ;  after  Jjietrich. 

WEISSENBRUCH,  Johannes,  a  Dutch  painter, 
.ind  pupil  of  Salomon  Leonardus  Verveer,  was  bom 
at  the  Hague  in  1822,  and  died  there  in  1880.  The 
liijks  Museum  at  Amsterdam  has  two  views  of 
towns  by  him. 

WEISSKR,  LuDWiG,  German  bl  ick-and-white 
artist  and  engraver  ;  born,  June  2,  1823,  at  Herren- 
berg  in  Wiirtemberg ;  became  a  pupil  of  Ktistner, 
and  attended  the  Stuttgart  Art  School.  He  was  a 
prolific  book  illustrator,  and  supplied  the  illustra- 
tions to  a  Historical  Atlas  of  note.  He  was  ap- 
pointed Curator  of  the  Stuttgart  Museum  of  Prints 
and  Lithographs  in  1858.  He  died  at  Stuttgart, 
February  26,  1879. 

WEITSCH,  Friedrich  Georg,  historical  painter, 
was  bom  at  Brunswick  in  1758,  and  was  the  son 
of  tlie  painter  Johann  Friedrich  Weitsch.  He 
entered  Tischbein's  atelier  at  Cassel  in  1776,  and 
visiting  Holland  and  Italy  for  improvement,  studied 
chiefly  the  works  of  the  Dutch  animal  painters. 
A  few  successful  portraits,  however,  had  already 
shown  where  his  real  talent  lay,  and  he  subsequently 
devoted  himself  to  figure  painting.  In  1781  he 
returned  to  Brunswick,  and  six  years  later  was 
appointed  court  painter  at  Berlin.  In  1797  he 
became  director  of  the  Berlin  Academy,  and  died 
in  that  city,  May  28,  1828.  Among  his  best  por- 
traits were  those  of  Soult,  Alexander  von  Humboldt 
{Berlin  National  Gallery)  of  Jerusalem,  the  father 
of  Goethe's  "  Werther  "  {do.),  of  his  own  father 
{Brunswick  Gallery),  of  the  Prince  of  Orange, 
and  the  Hereditary  Prince  and  Princess  of  Bruns- 
wick. 

WEITSCH,  Johann  Friedrich,  called  'Pacha 
Weitsch,'  from  his  fancy  for  Oriental  costumes, 
was  born  at  Hessendamm,  near  Wolfenbiittel,  in 
1723.  He  was  the  son  of  a  house-tiler,  but  from 
his  youth  had  a  bent  towards  art.  Having 
become  a  sergeant  in  the  army,  his  colonel  once 
called  upon  him  to  copy  a  few  landscapes,  which, 
though  his  first  attempts  at  painting,  were  so  suc- 
cessful that  he  thenceforth  devoted  himself  ex- 
clusively to  art.  He  copied  pictures  in  the  gallery 
at  Salzdalilen,  and  was  then  appointed  to  a  post  in 
the  porcelain  factory  at  Furstenberg.  He  pursued 
oil  painting  at  the  same  time,  and  studied  from 
nature  and  the  old  Dutch  masters.  His  works 
were  at  first  small  landscapes  and  views  of 
towns,  but  later  on  he  took  to  woody  scenes,  and 
especially  oak  forests  with    cattle.     In   1788  he 

353 


A  BIOGRAPHICAL  DICTIONARY  OF 


became  inspector  of  the  Salzdahlen  Gallery,  and 
died  in  that  place  in  1803.  Four  landscapes  by 
him  are  in  the  Gallery  at  Brunswick. 

WELBRONNER.     See  Wilborn. 

WELKER,  Ernst,  German  painter;  bom  at 
Gotha,  May  1,  1788  ;  studied  at  Gotha  and  Vienna  ; 
travelled  in  Italy ;  painted  landscapes,  such  as 
'  Griindelsee  in  Steiermark,'  '  Sorrento,'  and  a 
Biblical  scene, '  The  Journey  to  Emmaus,'  which  is 
in  the  Vienna  Academy.  He  died  at  Vienna  in 
1857. 

WELL,  Arnold  van,  born  at  Dordrecht  in  1772, 
was  a  scholar  of  Andries  Vermeulen,  and  painted 
cabinet  pictures  in  the  manner  of  the  Van  Strys, 
also  winter  scenes,  and  landscapes  by  moonlight. 
He  died  in  1818. 

WELLER,  David,  was  bom  at  Kirchberg  in 
Saxony  in  1759,  and  after  studying  at  the  Meissen 
school  of  design,  was  placed  in  theporcelain  factory, 
where  he  painted  iiistorical  pictures  and  portraits 
upon  china.  Later  on  he  took  to  flower  painting 
in  oil  and  gouache,  and  to  portraiture  in  pastel, 
but  he  had  to  struggle  hard  for  a  livelihood.  His 
merits  at  last  procured  him  the  appointment  of 
Court  painter  to  the  Elector,  but  this  preferment 
only  reached  him  a  few  days  before  his  death.  He 
died  at  Dresden  in  1789. 

WELLER,  J.  The  Print-room  of  the  British 
Museum  possesses  the  chalk  portrait  of  a  painter 
of  this  name,  executed  with  care  and  knowledge, 
and  inscribed  se  i])se  pinxit,  setat  30,  1718. 

WELLER,  Theodor  Leopold,  German  painter  ; 
born  at  Mannheim,  May  28,  1802  ;  studied  at  the 
Munich  Academy  under  Peter  von  Langer,  and 
subsequently  visited  Rome,  where  he  remained  for 
eight  years.  His  Italian  genre  pictures  had  a 
great  vogue  in  Germany,  so  that  in  some  instances 
the  artist  had  to  reproduce  them  witli  trifling 
variations.  In  1851  he  was  appointed  Director  of 
the  Mannheim  Gallery,  a  post  which  he  held  until 
his  death,  December  10,  1880. 

WELLS,  Henry  Tanworth,  R.A.,  was  born  in 
London,  December  1828,  and  made  his  first  appear- 
ance at  the  Royal  Academy  in  1846  with  a  minia- 
ture of  Master  Arthur  Prinsep.  From  that  date 
onwards  he  was  a  most  indefatigable  contributor, 
frequently  exhibiting  the  full  number(eight)alIowed 
by  the  rules  of  the  Academy,  and  only  once,  in 
1886,  being  entirely  unrepresented  up  to  1903,  in 
which  year  his  latest  work  appeared  after  his  death. 
He  married  in  1857  Joanna  May  Boyce,  a  painter 
of  some  talent,  who  died  in  1861.  In  1867  he  was 
made  an  Associate,  and  in  June  1870  a  full  Acade- 
mician. Up  to  1861  he  confined  himself  to  minia- 
tures. In  1862  he  exhibited  a  large  portrait  group, 
the  first  of  a  number  which  he  subsequently  pro- 
duced under  such  titles  as  '  Preparing  for  a  Tableau 
Vivant,'  portraits  of  the  three  daughters  of  Mr. 
Lowthian  Bell  (1865), 'Volunteers  at  the  firing 
point,'  portraits  of  Lord  Elcho  and  other  officers 
(1866),  'Rifle  ranges  at  Wimbledon,'  portraits  of 
Lord  Spencer  and  other  leading  volunteers  (1867), 
'Eail  and  Countess  Spencer  at  Wimbledon,'  and 
'Letters  and  News  at  the  Loch  side  '  (1868),  '  Fox 
to  ground,  Dartmoor,'  '  A  November  morning  at 
Birdsall  House,  Yorkshire,'  'Friends  at  Yewdon ' 
(1882),  which  included  portraits  of  himself  and 
other  members  of  the  Academy,  and  '  The  Queen 
and  her  Judges'  (1887),  representing  the  ceremo- 
nial at  the  opening  of  the  Royal  Courts  of  Justice. 
His  most  popular  picture  was  undoubtedly  'Victoria 
Kegina,'  exhibited  1880,  depicting  the  Archbishop 

354 


of  Canterbury  and  the  Lord  Chamberlain  informing 
the  late  Queen  of  her  accession  to  the  throne  in 
the  early  morning  of  June  20,  1837.  He  occasion- 
ally painted  landscapes  and  figure  subjects,  but 
was  chiefly  known  as  a  careful  and  conscientious 
portrait  painter,  and  had  among  his  sitters,  Princess 
Mary  of  Cambridge,  afterwards  Duchess  of  Teck, 
Earl  Spencer,  Lord  Chancellor  Hatherly,  the  late 
Duke  of  Devonshire,  Lord  Selborne,  the  Right 
Honourable  W.  E.  Furster,  &c.  M.B. 

WELLS,   Joanna  Mary,  n4e  Boyce,  bora  in 
1831,   painted   portraits,  genre  pictures,   and  oc- 
casionally landscapes.     At  the   age   of  eighteen 
she  entered  the  school  of  Mr.  Carey,  and  after- 
wards   worked    under    Mr.    Leigh,    in    Newman 
Street.     Her  first  exhibited  work  was  a  life-size 
head,  which  appeared  at  the  Academy  in  1855. 
In  the  same  year  she  went  to  Paris,  where  she 
joined  the  ladies'  class  in  Couture's  atelier.     The 
year  1867  she  passed  in  Italy,  and  in  December 
was    married    at    Rome    to    Mr.    H.    T.    Wells. 
Before    returning    to    England,  she    painted    the 
greater  part  of  '  The  Boys'  Crusade,'  exhibited  at 
the  Academy  in  1859.    Subsequent  exhibited  works 
were :    '  The  Outcasts,'   '  The  Heather-Gatherers,' 
'Do  I  like  Butter?'   'La  Veneziana,'  '  Peep-Bo  ! ' 
and  '  A  Bird  of  God.'     This  last  was  left  complete 
on  her  easel  at  the  time  of  her  death.     She  died 
in  child-bed,  on  July  15,  1861. 

WELLS,  William  Frederick,  an  English  land- 
scape painter  in  water-colour,  born  in  London  in 
1762.  He  was  taught  by  J.  J.  Barralet,  and  in  his 
early  years  wavered  between  pastel  and  oil.  One 
of  the  earliest  practitioners  in  water-colours,  he 
took  an  active  part  in  the  foundation  of  the  Old 
Society  in  1804,  and  in  1806  was  its  President. 
Between  1795  and  1813  he  exhibited  at  the  Royal 
Academy,  and  also,  between  1805  and  1812,  with 
his  own  society.  He  travelled  on  the  continent, 
extending  his  tours  to  Norway  and  Sweden.  The 
latter  half  of  his  life  was  chiefly  occupied  in 
teaching  drawing,  of  which  he  was  professor  at 
Addisoombe  for  many  years.  He  died  in  1836. 
There  is  a  water-colour  drawing,  '  The  Dawn,'  by 
him  in  the  South  Kensington  Museum. 

WELSCH,  Johann  Friedrich,  painter,  born  at 
Nieder-Wesel  in  1796.  He  served  as  a  volunteer 
in  the  war  of  liberation,  and  afterwards  studied  art 
in  Berlin  and  in  Holland.  He  first  became  known 
by  his  genre  pictures  and  portraits,  but  afterwards 
settled  at  the  Hague,  and  produced  chiefly  views 
of  Dutch  towns.  He  finally  became  director  of 
the  drawing  school  at  Miinster,  working  also  as  a 
restorer  of  pictures,  and  publishing  a  book  on  that 
subject. 

WELTE,  Gottlieb,  painter  and  etcher,  was 
born  at  Mayence  in  1745,  and  first  taught  by  his 
father,  an  obscure  painter  of  landscapes  and  ani- 
mals. He  afterwards  settled  at  Frankfort,  where 
he  painted  the  figures  in  the  landscapes  of  Schiitz. 
Later  on  he  visited  Russia,  and,  after  maintaining 
himself  for  a  time  by  his  musical  talents,  died  in  a 
village  near  Revel  in  1790.  In  the  castle  of  Ober- 
pehlen,  near  Dorpat,  he  decorated  a  room,  and  also 
painted  many  conversation  pieces,  bambocoiate, 
and  caricatures.  There  is  a  series  of  fifty-eight 
etchings  by  him. 

WELTER,  Michael,  German  painter;  born  at 
Cologne,  March  24, 1808  ;  studied  with  Mengelherg 
in  that  city  and  then  worked  in  Berlin  and  Paris, 
giving  special  attention  to  mural  decoration.  He 
executed  mural  paintings  in  several  private  housea 


MEISTER  VON  WERDEN 


Ma/iicii  phoioj 


THE  VISION  OF  bT.  IIUHEKT 


[_Edi}iluir!^h  (Nailery 


PAINTERS  AND  ENGRAVERS. 


at  Cologne,  and  also  the  frescoes  in  the  Wartburg 
and  Cologne  Theatre.  Work  of  his  best  is  to  be 
seen  in  the  St.  Cunibert  Kirche  and  also  at  the 
Godehardikirche  at  Hildesheim.  He  died  at 
Cologne,  January  3,  1892. 

WENBAN,  SiON  LoNGLEY,  American  painter 
and  etcher  ;  born,  March  9,  1848,  at  Cincinnati  ; 
studied  under  Wilmoth  in  New  York,  and  in  1879 
went  to  Munich,  where  his  teachers  were  Hackl 
and  Duveneck.  He  achieved  some  excellently 
sincere  work  as  a  landscape  painter,  though  his 
talent  met  with  but  scanty  recognition  ;  over  two 
hundred  etchings  by  him  were  published  at  Munich 
and  elsewhere.  He  died  at  Munich,  April  23. 
1897. 

WENCELAS,  (or  Wenceslaus).  See  OllmUtz, 
Wenzel  von. 

WENDELSTADT,  Karl  Friedrich,  painter 
and  etcher,  was  born  at  Neuwied  in  1786.  He  was 
early  left  an  orphan,  and  was  brought  up  as  an 
artist  by  his  foster-father,  the  art  connoisseur  Dr. 
Grambs,  of  Frankfort,  who  at  last  sent  him  to 
Paris  for  improvement.  He  there  cultivated  his- 
torical and  portrait  painting,  and  upon  his  return 
in  1817  was  appointed  inspector  of  the  Stadel 
Institute.  He  also  acquired  a  good  collection  of 
his  own,  and  was  a  teacher  of  drawing.  In  1840 
he  hanged  himself  at  Antwerp.  He  painted  many 
portraits  and  altar-pieces,  and  has  left  ten  etchings 
after  various  masters. 

WENDLEE,  Friedrich  Moritz,  a  German 
painter,  was  born  at  Dresden  in  1814,  and  died 
there  October  16, 1872.  His  '  Death  of  the  Chamois 
Hunter '  is  in  the  Dresden  Gallery. 

WENETZIANOW,  Alexei  Gavvrilowitsch,  was 
born  at  N^jine  in  1775,  and  studied  in  the  St. 
Petersburg  Academy.  He  painted  portraits,  house 
interiors,  and  genre  subjects,  and  after  becoming  a 
member  of  his  Academy,  died  in  the  government 
of  Twer,  December  6,  1846.  Among  his  works 
are: 

The  Threshing-floor. 

Peasant  Girl  receiving  the  Oommunion. 

A  Peasant  Lad.     {Hermitage.) 

WENG,  (Wenqh,  Weniq,   or  Wening). 

This  name  is  affixed  to  a  print  dated  1509,  repre- 
senting a  man  and  woman  almost  naked.  Over 
the  head  of  a  man,  who  is  attended  by  a  dog,  is 
written  Paris,  and  over  the  woman,  Egenoe,  pro- 
bably in  mistake  fur  (Enone.  The  print  appears 
to  be  by  a  German,  working  in  the  style  of  the 
early  Italian  engravers. 

WENG,  J.  G.  (or  Wenig).  This  name  is  affixed 
to  a  print  representing  '  Minerva  visiting  the 
Muses.'  It  is  etched  in  the  manner  afterwards 
employed  by  Romeyn  De  Hooghe,  and  dated  1630. 

WENNG,  Karl  Heinrich,  painter  and  litho- 
grapher, was  born  at  Nordlingen  in  1787.  He 
studied  art  in  his  native  town,  and  afterwards 
went  to  Stuttgart  to  learn  engraving  under  Miiller. 
He  soon  determined,  however,  to  devote  himself 
to  painting,  and  after  travelling  in  Switzerland  and 
Italy,  he  went  to  Munich,  to  work  under  Lang:er. 
In  1816  he  was  appointed  professor  of  drawing 
to  the  Lithographic  Institution  at  Stuttgart.  While 
there,  he  executed  a  number  of  original  litho- 
graphs, designed  a  large  cartoon  of  the  Flood, 
and  lithographed  Weitbrecht's  frieze  in  the  Schloss 
Rosenstein.  In  1827  he  left  Stuttgart  for  Munich, 
where  he  was  employed  at  the  Cotta  Literary 
Institute.      Returning   to    Stuttgart  in    1837,   he 


worked  industriously  both  as  a  painter  and  teacher 
of  art ;  he  published  a  book  on  perspective,  and 
brought  out  a  new  invention  in  lithography,  by 
which  plates  could  be  reproduced  without  a  press. 

WENTZEL,  JoHANN  Friedrich,  was  born  at 
Berlin  about  1660,  and  studied  perspective  and 
decorative  painting  under  the  elder  Harms.  He 
was  employed  by  the  Elector  Friedrich  of  Bran- 
denburg, and  received  a  stipend  from  him  to 
enable  him  to  visit  Italy.  After  his  return  he 
painted  a  '  Coronation  Ceremony  at  Konigsberg,' 
and  four  allegorical  cartoons  for  tapestry  ;  he  was 
also  a  painter  of  jiortraits,  and  of  scenes  for  court 
festivities.  He  settled  at  Dresden  after  the  death 
of  Friedrich,  and  died  there  in  1729. 

WENTZEL,  Michael,  was  born  at  Grossschonau 
in  Saxony  about  1790,  and  was  for  a  time  dancing- 
master  at  the  Leipsic  theatre.  He  however  took 
to  flower-painting  in  gouache,  and  afterwards 
worked  in  oil  at  Vienna.  About  1828  he  went  to 
Italy,  and  there  commenced  the  painting  of  land- 
scapes, panoramas,  &c.  Later  on  he  settled  at 
Leipsic,  where  he  published  a  series  of  motives  for 
ornaments. 

WENZEL  VON  OLMUTZ,  goldsmith  and  en- 
graver, flourished  1481-1500,  the  best  copyist  of 
the  fifteenth  century.  Copies  by  him  after  the 
Master  of  the  Amsterdam  Cabinet  (4),  Masters  L. 
Cz.  (1)  and  P.  W.  (11);  Schongauer  (52),  Durer 
(9),  and  others. 

WERDEN,  Master  of.  See  The  Master  of 
the  Life  of  Mart.  The  '  Conversion '  and  '  Mass  of 
St.  Hubert,'  two  panels  respectively  in  the  Scotch 
and  English  National  Galleries,  were  originally 
parts  of  an  altar-piece  in  the  old  Abbey  of  Werden, 
hence  the  painter  was  formerly  designated  the 
"  Master  of  Werden  "  ;  he  is  now  identified  with  the 
"  Master  of  the  Life  of  Mary."  Two  other  panels, 
which  belonged  to  the  same  altar-piece,  and  are 
now  in  the  English  National  Gallery,  are  the  only 
works  of  his  school. 

WEKDMULLER,  Johann  Rddolph,  painter  and 
modeller,  was  born  at  Zurich  in  1639.  His  father 
was  a  distinguished  officer  in  the  Venetian  and 
Swiss  services,  and  possessed  a  collection  which 
incited  the  son  to  the  choice  of  art  as  a  profession. 
He  studied  for  three  years  under  Konrad  Meyer, 
and  then  worked  independently,  directing  his 
attention  chiefly  to  landscapes  and  to  civil  and 
military  architecture.  He  also  produced  a  number 
of  portraits,  studied  flower  painting  under  Marel 
at  Frankfort,  and  visited  Holland.  He  was 
drowned  in  the  Sihl,  in  1668. 

WERENFELS,  Rudolph,  was  born  at  Basle  in 
1629.  He  received  his  first  instruction  at  Amster- 
dam, but  afterwards  studied  some  time  in  Italy. 
He  chiefly  practised  portraiture,  and  was  employed 
at  several  German  courts.     He  died  in  1673. 

WERFF  (or  Werf).     See  Van  der  Werff. 

WERNER,  Anna  Maria,  (or  Marianne,  w^e 
Hatd),  was  born  at  Dantzic  in  1688.  She  studied 
under  her  father,  Andreas  Hayd,  and  in  1705 
married  the  painter  Christoph  Joseph  Werner  of 
Augsburg.  Subsequently  she  became  noted  as  a 
miniature  painter  at  Berlin,  and  in  this  capacity 
was  invited  to  the  court  of  Dresden  in  1721.  She 
died  in  that  city  in  1753. 

WERNER,  Jacques  Christophe,  natural  history 
painter,  was  born  in  France  in  1798.  He  was  the 
author  of  an  'Atlas  of  European  Birds,'  and  was 
appointed  painter  to  the  Museum  of  Natural  His- 
tory at  the  Jardin  des  Plantes,  in  recognition  of 

355 


A   BIOGRAPHICAL  DICTIONARY  OF 


his  skill  in  the  delineation  of  birds  and  animals. 
Manj'  drawings  by  liira,  on  vellum,  are  in  the 
Museum  there.     He  died  in  Paris  in  1856. 

WERNER,  Joseph,  was  born  at  Burne  in  1637. 
He  was  the  son  of  an  obscure  painter,  by  whom  he 
was  first  instructed.  He  was  afterwards  sent  to' 
Frankfort,  where  he  became  a  scholar  of  Matthaus 
Merian  the  younger.  After  a  time  his  preceptor 
introduced  him  to  a  M.  Miiller,  an  amateur  of  for- 
tune, who  invited  Werner  to  accompany  him  to 
Rome.  During  his  residence  there,  he  copied  the 
works  of  Pietro  da  Cortona  and  Andrea  Sacchi ; 
but  his  predilection  for  high  finish  induced  him  to 
take  to  painting  portraits  and  historical  subjects 
in  miniature.  In  returning  from  Italy  he  passed 
through  France,  where  his  talents  attracted  the 
notice  of  Louis  XIV.  He  was  invited  to  Versailles, 
where  he  painted  the  king,  and  several  personages 
of  the  court ;  and  was  also  employed  in  historical 
and  emblematical  subjects.  He  was  compelled, 
however,  by  the  intrigues  of  Le  Brun,  to  leave 
France,  and  moved  in  1667  to  Augsburg,  where  he 
painted  in  the  Kreuzkirche,  and  produced  for  the 
Electress  of  Bavaria  seven  pictures  from  the  Life 
of  the  Virgin,  and  some  allegories  for  the  Elector. 
He  was  then  invited  to  Vienna,  where  he  painted 
a  portrait  of  Leopold  I.  About  this  period  he 
recommenced  painting  in  oil,  in  which  he  was 
thoroughly  successful.  Returning  to  Berne,  he 
painted  a  large  picture,  'The  Marriage  of  Justice 
and  Prudence,'  for  the  Rathhaus,  which  procured 
him  an  invitation  from  Frederick,  Elector  of  Bran- 
denberg  and  first  King  of  Prussia,  to  take  the  post 
of  director  of  the  newly-founded  Berlin  Academy; 
tliis  post  he  held  from  1696  to  1707,  when 
a  change  of  ministry  caused  his  displacement. 
He  died  at  Berne  in  1710.  A  '  Temptation  of 
St.  Anthony '  by  him  is  in  the  Augsburg  Gallery ; 
an  '  Allegory  of  Avarice '  in  that  of  Munich  ;  and  a 
'  Tobias  burying  the  Dead  '  in  that  of  Vienna. 

WERNHER,  a  monk  of  Tegernsee  in  the  11th 
century,  was  famous  for  his  skill  as  illuminator, 
glass  painter,  and  ornamentist. 

WERTHEIMER,  Gustave.  Born  at  Vienna 
in  about  1850,  Gustave  Wertheimer  had  long 
resided  in  Paris,  where  for  many  years  his  pictures 
were  a  feature  of  the  Salon,  several  of  theia 
achieving  great  success  when  engraved.  As  an 
animal  painter  he  was  particularly  successful,  his 
'  Fiancee  du  Lion,'  '  Mort  de  Brutus,'  and  '  Lo 
Repas  des  Lions,  chez  Pezon'  (this  was  in  the 
Salon  of  1886),  being  his  chief  works.  He  was  a 
successful  exhibitor  in  Holland,  England,  and 
America,  and  had  one  picture,  '  Le  Rival,'  at  the 
last  Salon.  He  was  also  a  portrait  painter  of 
considerable  skill,  and  some  of  his  fancy  pictures, 
such  as  '  Le  Vaisseau  Fantome '  (in  the  Salon  of 
1887),  showed  great  originality.  For  some  years 
Wertheimer  failed  to  find  a  market  for  his  work, 
but  he  appears  to  have  scrupulously  kept  from  his 
friends  all  signs  of  his  straitened  circumstances. 
He  died  in  August  1904,  at  the  Lariboisi^re 
Hospital,  having  been  removed  there  as  the  result 
of  a  domiciliary  visit  of  the  Austrian  Consul  to 
the  artist's  residence  at  38,  Rue  Rochechouart. 
Wertheimer's  death  was  directly  due  to  rapiid 
consumption,  aggravated  by  starvation. 

WERTMULLER,  Adolf  Ulrik,  a  Swedish 
painter,  was  born  at  Stockholm  in  1749.  He  went 
to  Paris  in  his  youth  and  worked  in  the  Academy 
there.  In  1787  he  was  appointed  painter  to  the 
King  of  Sweden.  In  1797  he  emigrated  to  America, 
356 


where  he  died  at  some  date  unknown.  Nagler 
wrongly  asserts  that  he  died  at  Stockholm  in  1811. 
He  was  a  member  of  the  Stockholm  Academy. 
Works  : 

Stockholm.        Museum.    Ariadne  abandoned  at  Naxos. 
„  „  Marie      Antoinette    and     her 

children. 
„  „  Portrait  of  Count  Annfelt. 

WERY,  Gerard,  one  of  the  pupils  of  Rubens, 
born  in  1C05,  died  in  1644.  He  was  known  chiefly 
as  a  copj'ist  of  his  master's  works,  and  never 
attained  to  any  distinction  in  the  school. 

W6rY,  Pierre  Nicolas,  bom  in  Paris  in  1770, 
died  at  Lyons  in  1827.  The  Lyons  Museum  has  a 
landscape  by  him. 

WESEL,  Herman  Wynrich  von,  and  Meisteb 
WlLHELM.     See  KoLN,  vol.  iii. 

WESEL,  Telman  von.     See  Telman. 

WEST,  Benjamin,  was  bom  in  Chester  County, 
Pennsylvania,  in  1738.  From  early  childhood  he 
evinced  an  inclination  for  drawing.  His  biographers 
dwell  on  his  childish  attempts,  and  would  persuade 
the  world  tliat  he  was  a  prodigy  in  art  from  his 
cradle.  At  eight  years  old  he  received  some  lessons 
in  the  management  of  colour  from  a  party  of 
Cherokee  Indians,  who  were  pleased  with  his  rude 
drawings  of  birds,  fruits,  and  flowers.  On  the  death 
of  his  mother,  in  his  eighteenth  year,  he  moved  to 
Philadelphia,  and  afterwards  to  New  York,  painting 
portraits  in  both  places.  He  found  this  profitable, 
and  was  enabled  to  amass  monej';  but  he  yearned 
to  be  acquainted  with  the  higher  walks  of  art. 
For  that  purpose  he  planned  a  journey  to  Rome, 
which  he  was  enabled  to  carry  out  by  the  help  of  a 
merchant  named  Kelly,  and  one  Allen,  a  shipowner. 
He  arrived  at  Rome  in  July,  1760.  An  American 
artist  was  a  novelty  in  Rome,  and  caused  a  sens- 
ation. Having  a  letter  of  introduction  to  Lord 
Grantham,  he  was  at  once  introduced  to  the  best 
society.  He  stayed  in  Italy  about  three  years, 
visiting  Florence,  Bologna,  Venice,  and  Panna, 
making  copies  of  celebrated  pictures,  and  painting 
some  originals.  When  his  funds  ran  short,  he 
received  a  fresh  supply  from  his  two  merchant 
friends,  and  from  the  Englishman,  Gavin  Hamilton. 
In  the  middle  of  the  year  1763  West  arrived  in 
London,  at  first  with  no  intention  of  remaining  in 
England  ;  but  his  reception  there  decided  his  future 
course.  Patronized  by  the  Church  and  by  royalty, 
and  favourably  received  by  artists  and  literary 
men,  he  sent  for  the  lady  to  whom  he  had  been 
engaged  before  he  left  America,  married,  and 
settled  for  life  in  England.  For  nearly  sixty  years 
he  held  a  prominent  position  among  the  painters 
of  the  country  ;  he  produced  numerous  pictures 
both  from  sacred  and  profane  history,  and  probably 
his  works  had  some  eSect,  at  the  time,  in  inciting 
others  to  attempt  such  subjects;  but  he  did  not 
create  a  school,  nor  did  his  style  survive  him.  He 
struck  a  blow,  however,  for  realism  in  art.  His 
'  Death  of  Wolfe  '  contained  a  startling  innovation 
in  the  substitution  of  the  military  regulation  coat, 
the  cocked  hat,  and  the  musket  with  the  bayonet 
for  the  ample  paludamentum,  the  helmet,  spear, 
and  shield.  In  1765  West  was  chosen  both  a 
member  and  a  director  of  the  Incorporated  Society 
of  Artists,  and  in  the  following  year  sent  '  Pylades 
and  Orestes'  and  'The  Continence  of  Scipio'  to 
their  exhibition.  In  1768  he  was  one  of  the 
four  commissioned  to  draw  up  the  plan  for  the 
Royal  Academy,  and  in  1772  was  appointed  his- 


PAINTERS  AND  ENGRAVERS. 


torical  painter  to  the  king.  On  the  death  of  Sir 
Joahua  Reyrioltis,  West  was  elected  to  the  Presi- 
dent's chair,  and  took  his  place  on  the  24tli  March, 
1792.  He  delivered  an  inaugural  address,  which 
was  much  applauded,  but,  says  his  biographer,  it 
must  have  caused  him  little  thought,  as  it  dwelt 
on  but  two  topics — the  excellence  of  British  art, 
and  the  great  benevolence  of  his  Majesty.  As  a 
Quaker  he  asked  permission  to  forego  the  usual 
honour  of  knighthood,  and  he  was  never  "!>ir 
Benjamin,"  as  he  is  so  frequently  styled.  He  died 
on  the  11th  March,  1820,  and  was  buried  in 
St.  Paul's  Cathedral.  Many  of  his  more  important 
works  were  painted  for  George  III. 

Glasgow.  GaUei-y.     Pylailes  and  Orestes. 

Hampton  Court.  Death  of  Bayard. 

„  The  Oath  of  Hannibal. 

„  Gerraauicus  and  the   "Wife   of 

Arnieuius. 

„  St.  Peter  denying  Christ. 

„  Cyrus  liberating  the  Family  of 

Astyages. 

„  Death  of  Epaminoudas. 

„  St.  George  and  the  Dragon. 

„  Regulus  leaving  Rome.    (Eight 

Royal  portraits.) 
Liverpool.      Walker  Gal.     Cleombrotus. 
London.     Grosvenar  Ho.     Death  of  General  Wolfe. 
Nottingham.      Museum.    Christ  healing  the  Sick. 

WEST,  Charles,  an  English  engraver,  was  bom 
in  London  about  1750.  He  produced  many  plates 
in  stipple,  and  also  in  a  mixed  process  of  etching 
and  stipple.  His  best  plate  was  'The  Silver  Age,' 
after  Henry  Walton  (1787). 

WEST,  Francis  Robert,  an  Irish  historical 
painter,  and  son  of  Robert  West  junior,  was  born  in 
1748.  After  studying  under  Boucher  and  Van  Loo 
in  Paris,  he  succeeded  his  father  as  master  of  the 
Dublin  Society's  School.  There  he  acquired  a  high 
reputation  as  a  teacher  and  draughtsman.  At  the 
London  Free  Society  he  exhibited  in  1774  an 
'  Adoration  of  the  Shepherds,'  and  at  the  Royal 
Academy  in  1790  a  couple  of  portraits.  He  died 
in  Dublin  in  1809. 

WEST,  Johannes  Hendrik  van,  a  modern  Dutch 
painter,  was  born  in  1803.  He  was  a  pupil  of  C. 
Kruseman  ;  lie  practised  art  only  as  an  amateur, 
but  one  of  his  pictures,  'The  Poet  Cats  and  his 
Family,'  was  crowned  by  the  Felix  Meritis  Society, 
of  Amsterdam  ;  and  another,  '  The  Billet  Doux,'  is 
in  the  Rijks  Museum,  in  the  same  city.  West  was 
elected  a  member  of  the  Amsterdam  Academy. 
He  died  in  1881. 

WEST,  Raphael  Lamar,  an  English  historical 
painter,  born  in  1769.  He  was  the  son  of  Benjamin 
West,  and  Btudied  in  the  schools  of  the  Academy. 
Though  gifted  with  considerable  powers,  he  did 
not  reach  success,  owing,  it  is  said,  to  want  of 
industry.  He  inherited  a  competence  from  hi,s 
father.  He  died  at  Bushey  in  1850.  '  Orlando  and 
Oliver,'  in  the  Shakespeare  Gallery,  was  by  him. 

WEST,  Robert,  topographical  draughtsman, 
drew  a  series  of  views  of  ancient  buildings  in 
London  and  Westminster,  which  were  published 
between  1736  and  1739. 

WEST,  Robert,  an  Irish  historical  painter,  born 
in  Waterf  ord  early  in  the  18th  century.  He  studied 
under  Van  Loo  in  Paris,  where  he  gained  the  first 
medal  in  the  Academy.  For  many  years  he  was 
master  of  the  school  of  the  Royal  Dublin  Society, 
but  was  at  last  compelled  to  resign  through  mental 
infirmity.     He  died  in  1770. 

WEST,  Robert  Locius,  an  Irish  historical 
painter,  the  son  of  F.  R.  West,  whom  he  succeeded 


iu  1809  as  master  of  the  Dublin  Society's  School. 
He  exhibited  on  two  occasions,  1808  and  1822,  with 
the  London  Royal  Academy,  and  was  elected  one 
of  the  original  members  of  the  Hibernian  Academy 
in  1823.  There  is  a  portrait  by  him  of  his  father, 
in  the  Hibernian  Academy.     He  died  after  1824. 

WEST,  Samuel,  portrait  and  genre  painter,  was 
born  at  Cork  about  1810.  He  came  to  London,  and 
began  to  exhibit  at  the  Royal  Academy  in  1840, 
contributing  some  twenty-three  pictures  between 
that  year  and  1867,  when  his  name  appears  for  the 
last  time.  His  subjects  were  chiefly  portraits,  and 
portrait-groups  of  children.  He  painted  a  few 
historical  subjects,  and  in  the  last  years  of  his  life 
made  many  excellent  copies  in  water-colour  from 
the  old  masters.     Works  : 

Cardinal  Wolscy  leaviug  Loudon  after  his  fall. 

Charles  I.  taught  drawing  by  Rubens. 

WEST,  William,  landscape  painter,  was  born  in 
1801,  at  Bristol,  where  he  practised  for  most  of  his 
life.  He  began  exhibiting  at  the  Academy  in  1845, 
with  a  picture  from  Bible  history,  but  afterwards 
turned  his  attention  to  landscape.  His  style  was 
imitative,  and  his  subjects  taken  from  Wales,  Nor- 
way, and  the  coast  of  Devonshire.  In  1851  he  was 
elected  a  member  of  the  Society  of  British  Artists, 
to  whose  exhibitions  he  was  a  constant  contributor. 
He  died  at  Chelsea  in  January,  1861, 

WESTALL,  Richard,  was  born  at  Hertford  in 
1765.  He  was  apprenticed  to  an  heraldic  engraver 
who  lived  in  Gutter  Lane,  Cheapside.  Towards  the 
end  of  his  time  he  was  permitted  by  his  master  to 
attend  the  Royal  Academy  schools,  where  he  formed 
an  acquaintance  with  Lawrence.  He  and  Lawrence 
afterwards  took  a  house,  jointly,  at  the  corner  of 
Greek  Street  and  Soho  S()uare.  It  had  two  en- 
trances; on  tlie  door  in  Greek  Street  was  placed., 
the  name  of  Westall,  on  that  in  the  Square  the 
name  of  Lawrence.  The  subjects  Westall  chose, 
and  the  style  in  which  he  represented  them,  were 
suitable  to  his  time,  and  ho  became  a  favourite 
with  the  public.  He  was  one  of  the  early  prac- 
titioners in  water-colour,  but  it  is  chiefly  as  an 
illustrator  of  books  that  he  is  now  remembered. 
His  '  vignettes  '  are  very  numerous  ;  some  of  the 
best  are  in  editions  of  Crabbe,  Moore,  Gray,  and 
the  '  Arabian  Nights.'  He  was  employed  by  Alder- 
man Boydell  to  illustrate  Milton  and  to  paint  five 
subjects  for  the  Shakspeare  Gallery  ;  and  his  repre- 
sentations of  Church  of  England  services  and  cere- 
monies were  popular  with  the  serious  part  of  the 
public.  Westall  was  elected  an  Associate  of  the 
Academy  in  1792,  and  an  Academician  in  1794. 
In  1808  he  published  a  volume  of  poems,  with  the 
title,  '  A  Day  in  Spring,'  with  plates  engraved  by 
J.  and  C.  Heath  after  his  own  designs.  Towards 
the  close  of  bis  life  he  lost  much  of  his  fortune  in 
amateur  attempts  at  picture  dealing.  Westall 
gave  lessons  in  drawing  to  the  Princess  Victoria, 
now  her  most  gracious  Majesty.  He  died  on  the 
4th  December,  1836.  There  i.s  a  '  Cassandra  pro- 
phesying the  Fall  of  Troy '  by  him,  in  water-colour, 
at  South  Kensington.  His  'Clirist  crowned  with 
Thorns'  is  in  All  Souls'  Church,  Langhara 
Place. 

WESTALL,  William,  brother  of  Richard  West- 
all,  was  born  at  Hertford  on  the  Pith  October,  1781. 
He  studied  under  his  brother,  and  in  the  schools 
of  the  Royal  Academy.  When  only  nineteen,  he 
was  appointed  draughtsman  to  Captain  Flinder's 
Australian  expedition.  After  being  out  some  two 
years,  his  ship  was  wrecked  off  the  north  coast  of 
Australia,  and  he  rescued  by  a  sliip  bound  for  China. 

357 


A  BIOGRAPHICAL  DICTIONARY  OF 


There  he  remained  several  months,  visiting  the  in- 
terior and  making  sketches,  which  have  now  much 
interest.  From  China  he  made  his  way  to  Bombay, 
whence  he  explored  tlie  Mahratta  country,  making 
drawings  at  Kurlee  and  Elephanta.  Returning 
to  England  after  an  absence  of  four  years,  he 
Boon  afterwards  set  out  for  the  West  Indies,  taking 
Madeira  on  the  way,  and  there  coming  near  to 
losing  his  life  by  a  second  shipwreck.  In  1805  he 
returned  to  England,  and  began  to  contribute  fre- 
quently to  the  Academy.  In  1811  ho  was  elected 
an  Associate  of  the  Water-Colour  Society,  and  in 
the  year  after  a  fall  member.  This  honour  he 
resigned,  and  a  few  months  later  he  was  elected  an 
A.R.A.  His  work  was  chiefly  topographical  land- 
scape in  water-colour.  He  died  from  the  effects 
of  an  accident  on  January  22nd,  1850.     Works  : 

Port  Jackson,  Sydney,     (South  Kensington.) 

The  Cottage  Door,     (Do.) 

A  Village  Church  and  Green.    {Do.) 


'  Views  of  scenery  in  Madeira,  at  the  Cape,  in  China 

and  India.'     1811. 
'  Views  of  the  Yorkshire  Caves.'    1818. 
*  Britannia  delineata.' 
•Picturesque   Tour  on  the  Kiver    Thames.'    {Jointly 

with  Samuel  Oioen.) 

WESTCOTT,  Philip,  an  English  portrait  painter, 
was  born  in  1815.  In  the  early  part  of  his  career 
he  lived  in  London,  and  exhibited  at  the  Royal 
Academy  between  1844  and  1861,  also  occasionally 
at  the  British  Institution  and  in  Suffolk  Street. 
His  practice  was,  however,  chiefly  in  the  north  of 
England,  and  the  greater  part  of  his  career  was 
spent  in  Liverpool  and  Manchester,  where  his 
portraits  were  held  in  high  repute.  Examples 
are  to  be  seen  in  the  Salford  Museum.  He  died 
at  Manchester  in  January,  1878. 

WESTENBERG,  Pieter  George,  painter,  was 
born  at  Nymeguen  in  1791.  In  1808  he  began  the 
study  of  art  under  J.  Hulswit,  and  at  the  Amster- 
dam Academy,  and  afterwards  became  known  as 
a  painter  of  landscapes  and  town  views.  He 
was  a  member  of  the  Royal  Academy  of  Amster- 
dam. He  died  at  Brummen,  December  26th,  1873. 
In  the  Rijks-Museum  there  is  a  '  View  of  Amster- 
dam in  Winter '  by  him,  and  in  the  Rotterdam 
Museum  a  '  Rustic  Scene.' 

WESTERBAEM,  J.,  a  portrait  painter,  was 
living  in  1669  at  the  Hague,  and  painted  the 
portraits  of  Arnold  Gesteramus  and  Jacob  Batiliere, 
which  were  engraved  by  Hendrik  Bary. 

WESTERHOUT,  Arnold  van,  an  engraver,  was 
born  at  Antwerp  in  1666.  After  having  received 
some  instruction  in  design  and  engraving  in  his 
native  city,  he  went  to  Italy,  and  worked  for  some 
time  at  Florence  for  the  Grand  Duke  Ferdinand. 
In  1700  he  established  himself  at  Rome,  where 
lie  engraved  several  plates  from  his  own  designs, 
and  after  the  works  of  Daniele  da  Volterra,  Maratti, 
Lenardi,  and  others  ;  also  some  portraits  in  mezzo- 
tint.    He  died  at  Rome  in  1725.     Plates  by  him  : 

Cardinal  Giacomo   Antonio  Moriga;  after  Lod.   Ant. 

David. 
Prince  Rospoli ;  after  the  same. 
Michelangelo   Tamburini,   General    of     the    Jesuits ; 

after  A  nt.  Odati. 
The  Transfiguration  ;  after  Raphael. 
St.  Andrew  upon  the  Clouds  ;  after  Domenichino. 
A  Female  Figure,  with  a  Unicom  ;  after  Ann.  Carracci. 
The  Descent  from  the  Cross;  after  Van.  da  Volterra. 
Attila  before  Kome ;  after  Alyardi. 
358 


St.  Paul  preaching  at  Athens  ;  after  Lenardi. 

The  Muses  protecting  the  Monuments  of  Art  from  the 

Destruction  of  Time  ;  after  the  same. 
The  Abjuration  of  the  Priest,  Miguel  Molinos. 

WESTERMAYR,  Christiane  Henriette,  ti^ 
Stotzer,  painter,  etcher,  and  embroiderer,  was  born 
at  Weimar  in  1772,  and  instructed  in  the  school  of 
her  native  tov/n.  About  1800  she  married  Konrad 
Westermaj'r,  whom  she  afterwards  assisted  in 
many  of  his  works.  She  herself  painted  portraits 
in  oil,  and  copied  the  works  of  Raphael,  Leonardo, 
Van  Dyck,  and  other  old  masters.  She  died  at 
Hanau  in  1830. 

WESTERMAYR,  Konrad,  painter  and  engraver, 
was  born  at  Hanau  in  1765.  He  was  the  son  of  a 
goldsmith,  and  learnt  drawing  in  the  school  of 
his  birthplace,  afterwards  producing  pastel  por- 
traits upon  parchment,  and  miniatures.  A  pension 
from  the  Landgrave  enabled  him  to  study  at  the 
Cassel  Academy.  He  afterwards  studied  engraving 
under  Lips  at  Weimar.  In  1807  he  became  a 
teacher  at  Hanau,  and  died  there  in  1826.  Two  of 
his  best  plates  are  a  'Madonna'  after  Guido,  and 
'  Gotz  von  Berlichingen '  after  Tischbein. 

WESTFALIA.     Giov.  di.     See  Veldknaer. 

WESTIN,  Friedrik,  Swedish  painter ;  born  at 
Stockholm  in  1782;  studied  at  the  Stockholm 
Academy,  and  also  in  Paris  and  Italy  ;  painted 
portraits,  and,  with  less  success,  historical  and 
Biblical  subjects,  such  as  '  The  Transfiguration,'  in 
the  church  of  St.  James  at  Stockholm.  He  died 
in  1862. 

WESTON,  Lambert,  born  in  1805,  became  a 
successfid  though  not  brilliant  painter  of  land- 
scape scenery,  many  of  his  subjects  being  taken 
from  the  cliffs  near  Dover.  At  the  Royal  Aca- 
demy in  1844  he  exhibited  a  view  of  Dover  Castle. 
Weston  was  a  warm  friend  of  Cruikshank  and 
Dickens.     He  died  in  February  1895. 

WESTPHALEN,  Albert  von.  See  Aldeqreveb, 
Heinrich. 

WET,  G.  and  J.     See  Dijwett. 

WETi'E,  Fkans  de.     See  De  Wette. 

WETZEL,  Jakob,  draughtsman  and  painter, 
was  born  at  Hirslanden,  near  Zurich,  in  1781,  and 
studied  under  Walser.  He  painted  landscapes  in 
water-colours,  chiefly  views  among  the  Italian 
lakes.     He  died  at  Richterschwyl  in  1834. 

WEYDE,  Jdlius,  genre  painter,  was  born  at 
Berlin  in  1822,  and  first  studied  at  the  Academy 
there.  He  afterwards  became  a  pupil  of  Venne- 
man  at  Antwerp  and  of  Delaroche  in  Paris.  In 
1848  he  settled  in  Berlin,  and  became  well  known 
by  his  scenes  from  bourgeois  life.  He  died  near 
Stettin  in  1869. 

WEYDEN,  Roger  van  deb  (or  Weyde).  See 
Van  der  Weyden. 

WEYDMANS  (or  Wetdeman).    See  Weijdmans. 

WEYDxMULLER,  Johanna  Elisabeth,  n^e 
Kruoer,  was  born  at  Sorau  in  1725.  She  was  her 
father's  pupil,  and  became  a  clever  painter  of 
flowers,  fruit,  and  portraits  upon  glass.  She  taught 
drawing  to  the  Saxon  Royal  family,  and  died 
in  1807. 

WEYER,  Gabriel,  a  German  painter,  etcher, 
and  wood  engraver,  was  born  at  Nuremburg  about 
the  year  1580,  and  was  one  of  the  most  productive 
workers  of  his  time.  He  painted  historical  and 
allegorical  pictures,  and  made  many  designs  for 
the  engravers.  He  also  executed  several  wood- 
cuts (which  are  marked  with  a  monogram  com- 
posed of  a  6.  and  a  W-),  and  left  a  number  of  pen 


FRANCIS  WHEATLEY 


WINTER 

(From  an  Engraving) 


PAINTERS  AND   ENGRAVERS. 


drawings  washed  in  Indian  ink.    He  died  at  Coburg 
in  1640. 

WEYER,  Hans.    See  Weiner. 

WEYER,  Jakob  Mathias,  (or  Johann  Mathias,) 
was  bom  at  Hamburg  at  the  beginning  of  the  17th 
century,  and  was  a  pupil  of  J.  A.  Decker,  under 
whom  he  painted  horses  and  battles.  He  after- 
wards studied  under  Wouwerman.  He  chiefly 
produced  landscapes  with  rustic  figures  and  skir- 
mishes. He  died  about  1690.  The  Brunswick 
Gallery  contains  the  following  pictures  by  him  : 

Brunswick,  Gallery.    The  Battle  with  the  Amalekites. 
„  „  The  Conversion  of  Saul. 

„  „  A  Camp. 

WEYERMAN.    See  Weijebman. 

WEYGANDT,  Sebastian,  was  bom  at  Bruchsal 
in  1780,  and  taught  successively  by  Engelhard,  the 
sculptor  Gtinther,  and  Schweickart.  He  settled 
as  a  portrait  painter,  first  at  Augsburg,  and  after- 
wards at  Walierstein,  where  he  painted  the  family 
of  the  prince.  He  was  also  for  a  time  court  painter 
to  the  Margrave  of  Ansbach,  and  to  the  Prince  of 
Hohenlohe.  In  1804  he  was  at  Breslau,  where  he 
painted  several  French  ofHcers,  among  them  Prince 
Jerome  Bonaparte,  who  took  him  to  Cassel  as  his 
court  painter.  He  was  appointed  director  to  the 
projected  Westphalian  Academy  in  Rome,  but  the 
Westphalian  kingdom  being  put  an  end  to,  he  never 
entered  upon  the  office.    He  died  at  Cassel  in  1824. 

WEYLER,  Madame.     See  Kugler. 

WEYLER,  or  WEYLLER,  Jean  Baptiste,  a 
painter  of  portraits  in  pastel,  miniature,  and 
enamel,  was  born  at  Strasburg  in  1749.  He  worked 
in  Paris,  and  became  an  Academician  in  1779,  his 
reception  work  Ijeing  a  portrait  in  enamel  of  the 
Comte  d'Angivilliers,  director-general  of  archi- 
tecture to  Louis  XVI.,  which  is  now  in  the  Louvre. 
He  exhibited  miniatures  of  many  distinguished 
persons  at  the  Salon,  between  1775  and  1790, 
among  them  those  of  Gustavus  Adolphus,  Turenne, 
and  Peter  the  Great,  etc.,  painted  on  commission 
for  the  French  Government.  His  pupil,  Mademoi- 
selle Kugler,  who  became  his  wife,  worked  in  tlie 
same  genre.     He  died  in  Paris,  July  'Ih,  1791. 

WEYNERS.     See  Weiner. 

WEYSSER,  Karl,  German  painter,  born  Sep- 
tember 7,  1833,  at  Durlach;  became  a  pupil  at 
the  local  Polytechnic,  and  then  studied  at  the 
Karlsruhe  Art  School  under  Descoudres  ;  began 
his  career  as  a  portrait-painter,  but  eventually 
showed  his  preference  for  rather  dull  architectural 
presentments  of  German  towns.  His  work  to 
architects,  therefore,  is  interesting.  He  died  at 
Heidelberg  in  April  1904. 

WHARTON,  Philip  F.,  an  American  painter, 
was  born  at  Philadelphia  in  1841,  studied  in  the 
Academy  in  that  city,  and  later  in  Dresden  and 
Paris.  His  picture  of 'Perdita  at  the  Sheep-shear- 
ing Festival '  received  a  medal  at  the  Philadelphia 
Exhibition  of  1876.     He  died  at  Media  in  1880. 

WHEATLEY  Francis,  was  born  in  London  in 
1747.  His  father,  a  master-tailor,  placed  him  at  first 
under  a  good  teacher,  and  afterwards  at  Shipley's 
drawing-school,  which  he  left  after  a  time  for  the 
schools  of  the  Academy.  When  young  he  obtained 
several  premiums  from  the  Society  of  Arts,  and, 
having  formed  a  friendship  with  Mortimer,  he 
assisted  that  artist  in  painting  a  ceiling  at  Brocket 
Hall,  for  Lord  Melbourne.  He  was  also  employed 
on  the  decorations  at  Vauxhall.  He  met  with 
considerable  employment  in  painting  small  whole- 
length  portraits,  which  induced  him  for  some  time 


to  make  that  his  particular  pursuit  After  practis- 
ing some  years  in  London,  he  eloped  to  Dublin, 
with  the  wife  of  Gresse,  the  painter.  In  Dublin 
ho  was  much  employed  in  portraiture,  and  painted 
a  large  picture,  representing  the  '  Irish  House  of 
Ciiramons,'  in  which  he  introduced  portraits  of  all 
the  more  remarkable  Irish  politicians.  On  the 
tardy  detection  of  his  irregular  course  of  life  he 
returned  to  London,  where  he  appears  to  have 
now  met  with  no  serious  obstacle  to  the  pursuit 
of  his  profession.  He  painted  a  picture  of  the 
Gordon  Riot,  from  which  Heath  engraved  an  ex- 
cellent print  for  Boydell,  and  became  very  popular 
as  a  painter  of  rural  and  domestic  subjects,  for 
which  he  had  a  peculiar  talent.  When  Boydell 
projected  the  Shakespeare  Gallery,  he  was  engaged 
to  contribute  twelve  pictures.  He  was  a  contri- 
butor also  to  Macklin's  '  Poets'  Gallery.'  Wheatley 
first  exhibited  at  the  Academy  in  1771,  his  subjects 
at  that  time  being  portraits.  Later  on  he  sent 
genre  pictures  and  landscapes,  some  in  water- 
colours  but  more  in  oiL  He  frequently  drew  with 
the  pen,  using  Indian  ink  for  the  shadows.  An 
etching  and  a  mezzotint  by  him  are  also  known. 
He  was  elected  an  Associate  of  the  Royal  Academy 
in  1790,  and  Royal  Academician  in  1791.  He  was 
a  martyr  to  the  gout  for  several  years,  and  died 
in  1801.  In  his  best  work,  Wheatley  is  an  excellent 
painter,  approaching  Morland  in  freedom  of  hand- 
ling and  in  sense  of  beauty.     Works: 

London.     N.  Port.  Gall.     Group  of  officers,  with  camp  in 

background. 
The  second  Duke  of  Newcastle,  witli  a  shooting  party. 
The  Disaster  {Sir  Charles  Tennani^  Bt.). 
The  *  Cries  of  London.' 

WHESSELL,  John,  an  English  engraver,  who 
was  at  work  in  London  towards  the  close  of  the 
18th  century.  He  engraved  after  Serres,  Stothard, 
Singleton,  Gainsborough,  and  others. 

WHICHELO,  C—  John  M— ,  an  English  marine 
painter  in  water-colours,  born  towards  the  close  of 
the  18th  century.  He  practised  in  London,  and 
became  marine  painter  to  the  Prince  Regent.  Be- 
tween 1810  and  1846  he  occasionally  exhibited  at 
the  Royal  Academy  and  the  British  Institution, 
but  his  works  chiefly  appeared,  from  1823  onwards, 
at  the  Old  Water-Colour  Society,  of  which  he  was 
elected  an  associate  in  that  year.    He  died  in  1865. 

WHISTLER,  James  Abbott  McNeill,  painter, 
etcher  and  lithographer,  was  born  at  Lowell,  Mass., 
in  1834.  His  father,  Major  George  Washington 
Whistler,  sprang  from  the  Irish  branch  of  an  old 
English  family,  and  his  second  wife,  James'  mother, 
was  Anna  Matilda  McNeill,  of  Wilmington,  North 
Carolina.  Major  Whistler  made  a  reputation  as  a 
military  engineer,  and  in  1842  was  appointed  con- 
sulting engineer  of  the  Moscow  and  St.  Petersburg 
Railway.  Several  years  of  the  young  artist's  boy- 
hood were  spent  in  St.  Petersburg,  but  on  the 
death  of  his  father  in  1849  he  returned  with  his 
mother  to  America,  and  two  years  later  entered 
the  West  Point  Military  Academy.  He  was,  how- 
ever, unfitted  by  disposition  to  undergo  the  study 
and  discipline  necessary  for  a  military  career,  and 
in  1854  he  was  discharged.  He  had  already  dis- 
tinguished himself  in  drawing,  and  shortly  after- 
wards he  obtained  an  appointment  as  draujjhts- 
man  in  tlie  Coast  Survey  Department  at  Wash- 
ington. His  earliest  existing  etching  was  made 
in  this  capacity — a  view  of  the  contours  of  a 
coast,  taken  from  the  sea,  with  several  sketches 
of  heads  in  tlie  margin.     He  soon  found  routine 

359 


A  BIOGRAPHICAL  DICTIONARY  OF 


work  unbearable,  and  in  1855  he  definitely  gave 
himself  up  to  art  and  proceeded  to  England  and 
thence  to  Paris.  Here  he  entered  the  studio 
of  Gleyre,  and  though  he  was  entirely  out  of 
sympathy  with  the  academic  principles  of  his 
master,  he  was  considerably  influenced  by  such 
men  as  Degas,  Legros,  Bracquemond,  and  especi- 
ally Fantin-Latour,  with  whom  he  was  thrown 
into  close  contact.  His  first  published  works 
were  the  "  French  Set "  of  etchings,  of  which 
a  very  small  number  were  printed  by  Delatre  and 
issued  in  1858  at  lifty  francs  the  set.  In  1859  his 
first  painting,  '  At  the  Piano,'  was  sent  to  the 
Salon.  It  was,  however,  refused,  but  was  hung  at 
the  Royal  Academy  in  the  following  year.  'The 
White  Girl,'  sent  to  the  Salon  in  1863,  was  also 
refused,  and  in  that  year  Whistler,  who  for  the  last 
four  years  had  been  dividing  his  time  between 
Paris  and  London,  definitely  took  up  his  residence  in 
Chelsea. 

In  1859  he  had  begun  the  series  of  Thames  etch- 
ings, sixteen  of  which  were  published  in  1871  by 
Ellis  and  Green.  One  hundred  sets  were  then  printed, 
but  the  impressions  were  unsatisfactory,  aud  the 
plates  were  afterwards  bought  by  the  Fine  Art 
Society  and  reprinted — rather  heavily — by  Gould- 
ing.  The  earliest  impressions,  by  the  artist  him- 
self, remain  by  far  the  most  desirable,  not  only 
from  tlieir  rarity,  but  from  their  greater  delicacy 
and  refinement.  The  Thames  etchings  are  of  ex- 
treme interest,  even  if  regarded  merely  as  pictures 
of  the  river  in  tlie  early  sixties.  But  nothing 
was  further  from  Whistler's  thought  than  to 
make  a  record  for  the  use  of  the  antiquarian  of 
the  future.  Now,  as  ever,  his  sole  aim  was  to 
make  pictures  that  should  be  beautiful  in  them- 
selves, and  the  subject  was  a  secondary  considera- 
tion. Many  of  the  Thames  plates  are  very  elaborate 
in  detail,  and  a  definite  firm  line  is  used,  very 
different  from  that  employed  in  the  later  etchings. 
In  spite,  however,  of  what  he  himself  called  "the 
crude  and  hard  detail  of  the  beginner,''  the  breadth 
of  view,  the  quality  of  line,  at  once  flexible  and 
certain,  and  the  perfect  technique  displayed,  com- 
bine to  make  the  Thames  set  the  most  popular  of 
all  the  artist's  works,  though  in  the  opinion  of  most 
critics  they  are  far  surpassed  by  the  later  etchings 
made  in  Venice  and  Amsterdam.  It  may  be  noted 
that  besides  the  sixteen  prints  included  in  the 
Thames  set  as  published,  Whistler  made  at  this 
time  and  afterwards  a  large  number  of  other  etch- 
ings of  the  river,  including  such  fine  plates  as  'The 
Large  Pool,'  '  Old  Battersea  Bridge,'  '  Old  Putney 
Bridge,'  'Billingsgate'  (afterwards  published  in 
'  The  Portfolio  '),  and  '  Battersea— Dawn.'  To  this 
period  also  belong  a  number  of  portrait  studies, 
such  as  the  'Portrait  of  Himself,'  '  Drouet,'  'The 
Engraver,'  'Joe,'  and  above  all  the  superb  full- 
length  figure  of  '  Annie  Haden.'  Meanwhile 
Whistler  liad  been  depicting  the  Thames  on  canvas 
as  well  as  on  copper.  His  earliest  painting  of  the 
river  was  '  The  Thames  in  Ice,'  exhibited  at  the 
Academy  in  1862,  under  the  title  of  '  The  25th 
of  December,  1860,  on  the  Thames,'  and  this  was 
followed  by  '  The  Last  of  Old  Westminster  '  (1863), 
'  Wapping  '  (18G4),  '  Old  Battersea  Bridge '  (1865), 
and  several  pictures  of  the  great  reach  of  the  river 
opposite  his  house  in  Chelsea.  A  visit  to  Val- 
paraiso in  1865-6  resulted  in  two  fine  pictures  of 
Valparaiso  Harbour — a  '  Crepuscule  in  Flesh  Colour 
and  Green,'  and  a  '  Nocturne  in  Blue  and  Gold ' — 
and  a  sea-piece  entitled  'The  Ocean.' 

360 


At  this  time  Whistler  had  already  begun  to 
collect  Oriental  china,  and  was  an  enthusiastic 
admirer  of  Japanese  art,  the  influence  of  which 
is  to  be  seen  in  a  group  of  pictures  painted 
between  1864  and  1870.  They  are  :  '  The  Little 
White  Girl'  (or  'Symphony  in  White,  No.  2'), 
'  La  Princesse  du  Pays  de  la  Porcelaine,'  both  of 
which  were  painted  in  1864  and  exhibited,  the 
former  at  the  Academy  and  the  latter  at  the  Salon, 
in  1865  ;  'The  Lange  Leizen — of  the  Six  Marks  ' 
(Academy,  1864), 'The  Golden  Screen' (1865),  the 
'Symphony  in  White,  No.  3'  (1867),  and  'The 
Balcony  '  (1870).  All  of  these  show  tlie  Japanese 
influence  in  diflTerent  ways,  but  it  is  to  be  noticed 
that  even  where  the  accessories  and  framework  of 
a  picture  are  entirely  Eastern,  Whistler  always 
remains  a  European.  He  is  not  trying  to  paint 
Japanese  pictures,  but  to  arrive  at  certain  decora- 
tive schemes  of  colour  by  the  use  of  Japanese 
costumes,  fans,  screens  and  pottery.  He  makes 
use  of  the  artistic  principles  and  ideals  of  the 
East,  without  losing  his  own  individuality,  and 
the  result  is  work  which  is  at  once  gorgeous  in 
colour  and  original  in  its  decorative  aim.  This 
group  of  pictures  stands  by  itself.  Whistler  turned 
now  to  the  production  of  full-length  portraits, 
which  form  the  most  important  part  of  his  work  as 
a  painter  for  the  next  twenty  years.  His  earliest 
painting  known  is  a  '  Head  of  Himself  in  a  Slouch 
Hat,'  which  dates  from  1857-8,  and  he  had  painted 
another  '  Portrait  of  Himself  as  a  Young  Man,'  and 
a  companion  portrait  of  Dr.  W.  McNeill  Whistler, 
his  brother,  about  the  year  1866.  But  he  now 
devoted  himself  seriously  to  portrait  painting,  and 
produced  in  quick  succession  several  of  his  greatest 
masterpieces.  The  '  Portrait  of  the  Painter's- 
Mother  '  was  hung  at  the  Royal  Academy  in  1872, 
and  in  the  same  year  the  artist  was  engaged 
on  the  '  Portrait  of  Thomas  Carlyle  '  and  the 
'  Portrait  of  Miss  Alexander.'  The  three  portraits 
constitute  perhaps  his  greatest  achievement  in 
painting.  Both  in  aim  and  execution  they  were 
unlike  any  contemporary  work.  Whistler  was 
never  content  to  produce  a  mere  likeness  of  his 
sitter.  The  picture  must  also  be  a  decorative 
arrangement  of  colour,  a  thing  of  beauty  in  itself; 
and  in  studying  his  model,  he  endeavoured  to  pierce 
below  the  transitory  expression  to  the  real  character 
beneath.  "  It  is  for  the  artist,''  he  said,  "to  put 
on  canvas  something  more  than  the  face  the  model 
wears  for  that  one  day  ;  to  paint  the  man  in  short, 
as  well  as  his  features."  And  further,  mstead  of 
making  his  portrait  "standout"  from  the  frame  in 
the  ordinary  manner,  he  set  it  back  within  the 
frame — "  at  a  depth  behind  it  equal  to  the  distance 
at  which  the  painter  sees  his  model."  In  many  of 
his  later  portraits  he  placed  his  subjects  in  semi- 
darkness  against  a  black  background.  The  'Por- 
trait of  Miss  Rosa  Corder,'  the  portrait  called  'The 
Fur  Jacket,'  the  '  Portrait  of  Lady  Archibald  Camp- 
bell' (afterwards  called  'La  Dame  au  Brodequin 
Jaune '),  the  '  Portrait  of  Senor  Sarasate,'  among 
others,  are  painted  in  this  manner,  and  in  spite  of 
the  obscurity  in  which  the  models  stand,  they 
"  live  within  their  frames  and  stand  on  their  legs." 
The  suggestion  of  atmosphere,  which  is  one  of  the 
great  characteristics  of  Whistler's  painting,  is, 
indeed,  as  remarkable  in  his  portraits  as  in  his 
sea-pieces  and  nocturnes.  Other  important  por- 
traits include  those  of  Mr.  and  Mrs.  F.  R.  Leyland, 
Sir  Henry  Irving  as  Philip  II.  of  Spain  (Qrosvenor 
Gallery,  1877),  two  portraits  of  Lady  Meui,  the 


JAMES  McNeill  whistler 


\^Lii.\i'niliou>'g,  i'iii  IS 


PORTRAIT  OF  THE   PAINTERS  MOTHKR 


PAINTERS  AND  ENGRAVERS. 


greatest  of  which,  an  Arrangement  in  Black  and 
White,  was  shown  at  the  Salon  in  1882,  the 
'Portrait  of  Theodore  Buret'  (Salon,  1885),  and 
the  'Portrait  of  Count  Robert  de  Montesquiou- 
Fezansao'  (Salon,  Champ  de  Mars,  1894). 

In  1874  Whistler  held  an  exliibition  of  his 
work  in  Pall  Mall.  It  included  several  of  his 
finest  pictures,  the  'Carlyle'  and  the  '  Miss  Alex- 
ander,' among  others,  being  seen  for  the  first  time. 
At  this  period  he  was  in  close  touch  with  F.  R. 
Leyland,  the  great  shipowner  and  connoisseur,  and 
besides  painting  the  portraits  of  Mr.  and  Mrs.  Ley- 
land  already  mentioned,  he  etched  portraits  of 
their  three  daughters,  whom  he  also  began  to  paint 
in  oil.  Unfortunately  these  portraits  were  never 
finished,  but  several  sketches  in  pastel  and  pen- 
and-ink  exist.  The  most  important  work,  however, 
which  Whistler  did  for  Leyland  was  the  decoration 
of  the  dining-room  in  his  house  in  Prince's  Gate. 
The  room  had  been  decorated  by  an  architect 
named  Jeckyll,  and  fitted  with  light  shelves  for  blue 
china.  Whistler's  '  Princesse  du  Pays  de  la  Porce- 
laine'  hung  over  the  fireplace.  On  the  opposite 
wall  he  now  painted  two  f^reat  peacocks  in  defiant 
attitudes,  and  magnificent  peacocks  also  appeared 
on  the  window-shutters.  The  rest  of  the  room, 
including  the  ceiling,  was  covered  with  blue-and- 
gold  decoration,  variety  in  tone  being  obtained  by 
sometimes  painting  in  blue  on  the  gold  leaf,  and 
sometimes  using  gold  paint  on  a  blue  ground. 
The  '  Peacock  Room '  has  now  (1904)  been  sold 
and  gone,  with  many  of  Whistler's  finest  works,  to 
America,  where  it  is  understood  that  the  'Princesse' 
will  again  take  up  her  old  position. 

In  1877  the  Grosvenor  Gallery  was  started  by 
Sir  Coutts  Lindsay,  and  Whistler  sent  to  the  first 
exhibition   seven   pictures,  including,  besides  the 
'Carlyle'   and    the  portrait  of  Irving,  a  group  of 
'Nocturnes.'    He  had  already  shocked  and  irritated 
the  critics  by  the  titles  he  had  given  to  his  pictures 
in  his  exhibition  of  1874.    He  called  them  'Notes,' 
'Harmonies,'  'Arrangements,'  or  'Symphonies'  in 
this  or  that  colour,  as  a  protest  against  the  "  lite- 
rary "  painting  of  the  day,  insisting  that  art  should 
appeal   to  the  artistic  sense   alone,  and   that  the 
subject-matter  has  nothing  to  do  with  it.     In  the 
'Nocturnes'  he  struck  out  an  entirely  new  line, 
representing  moonlight  effects  on  the  river,  with 
the  lights  sparkling  on  the  banks,  or  night  scenes, 
relieved   by   the   light  of  fireworks.     The  'Noc- 
turnes '  are  the  most  original  of  all  his  works,  and 
they  roused  a  storm  of  indignant  protest.     Ruskin, 
above  aU,  attacked  them   in  '  Fors  Clavigera '  in 
the  most  violent  terms.     "I  never  expected,"  he 
said,  "to  hear  a  coxcomb  ask  two  hundred  guineas 
for  flinging  a  pot  of  paint  in  the  public's  face." 
Euskin's  position  and  reputation  lent  weight  to  his 
attack,  which  very  seriously   injured   the   artist. 
He   promptly  sued   the  critic  for  libel,  claiming 
£1000  for  the  injury  to  his  reputation.     The  case 
was  tried  before  Baron  Huddleston  and  a  special 
jury  in  November  1878,  and  resulted  in  a  nominal 
verdict  for  the  plaintiff  with  one  farthing  damages. 
Whistler  revenged  himself  by  publishing  a  pamph- 
let entitled  'Art   and   Art   Critics,'   in  which    he 
assailed   Ruskin  and   the  critics  in   general  with 
vigour   and   scorn.     In    September   1879   he   left 
London  and  went  to  Venice,  where  he  had  been 
commissioned  by  the  Fine  Art  Society  to  make  a 
series  of  etchings.     He  did  not  return  to  London 
until  the  end  of  the  next  year,  when  he  brought  with 
him,  besides  some  forty  etchings,  a  large  number 


of  pastels  and  one  or  two  oil-paintings.  The  first 
series  of  twelve  etchings  was  esliibited  by  the  Fine 
Art  Society  in  December  1880,  and  one  hundred 
sets  were  issued  at  fifty  guineas  the  set.  A  second 
series  nf  twenty-six  etchings  (of  which  twenty-one 
were  Venetian  subjects)  was  published  by  Messrs. 
Dowdeswell  in  1886,  thirty  sets  being  printed,  and 
issued  at  the  same  price  as  the  former  series.  The 
Venetian  etchings  difEer  very  considerably  from 
the  Thames  set  and  other  early  plates.  The 
minute  detail  and  hard,  well-defined  line  is  gone, 
and  is  succeeded  by  a  softer  and  less  rigid  line, 
combined  with  far  greater  economy  of  work.  The 
effect,  which  depends  to  a  great  extent  on  the  print- 
ing, is  richer  and  softer  and  much  more  poetical. 
Apart  from  technique,  the  great  distinction  of  the 
Venice  plates — as  of  all  Whistler's  finest  work — 
lies  in  the  appeal  they  make  to  the  imagination, 
and  it  is  this  which  gives  them  an  ever-growing 
charm.  It  is  this  quality  too  which  accounts  for 
the  hostility  shown  to  so  much  of  his  work  by  the 
critics  and  the  public.  Every  one  could  under- 
stand and  appreciate  the  Thames  etchings  ;  but 
the  delicacy,  the  subtlety  and  the  suggestiveness 
of  the  Venetian  seiies  were  as  incomprehensible  to 
matter-of-fact,  unimaginative  minds  as  were  the 
unwonted  harmonies  of  pure  colour  presented  by 
the  'Nocturnes.'  In  later  years  Whistler  executed 
a  large  number  of  etchings,  which  consist  chiefly 
of  views  in  Brussels,  Amsterdam,  Tours,  Bourges, 
Loches  and  Paris,  and  also  a  series  of  sketches  of 
the  naval  review  at  Spithead  in  1887. 

Though  the  etchings  which  Whistler  brought 
back  from  Venice  did  not  meet  with  general  appre- 
ciation, the  charm  and  originality  of  the  Venetian 
pastels  were  immediately  recognized.  Previously 
Whistler  had  used  pastels  only  for  making  studies 
for  his  oil-paintings,  but  the  drawings  made  in 
Venice  were  pictures  complete  in  themselves.  The 
fifty-three  pastels  exhibited  at  the  Fine  Art  Society's 
Gallery  early  in  1881  showed  an  entirely  new  use 
of  the  material,  being  original  both  in  colour  and 
treatment.  They  remain  the  only  drawings  of  the 
kind  he  ever  made,  though  he  afterwards  produced 
several  charming  pictures  in  pastel  of  draped 
models.  With  the  pastels  mention  may  be  made 
of  Whistler's  drawings  in  water-colour,  a  medium 
which  he  first  begnn  to  use  seriously  after  his  return 
from  Venice.  A  large  number  of  water-colours,  as 
well  as  pastels  and  small  oil-pictures,  were  ex- 
hibited at  Messrs.  Dowdeswells'  Gallery  in  1884 
and  1886,  under  the  title  of  'Notes,  Harmonies  and 
Nocturnes.'  They  include  drawings  done  in  the 
Channel  Islands,  in  Normandy,  in  Holland,  at  St. 
Ives,  at  Southend,  in  London,  and  in  other  places, 
and  many  sea-pieces  and  figure  subjects.  They 
are  distinguished  by  wonderful  delicacy  of  colour, 
as  well  as  by  the  "atmosphere"  which  is  never 
absent  from  Whistler's  work. 

Meanwhile  he  had  turned  his  attention  to  litho- 
graphy, which  he  was  destined  to  raise  once  more 
to  the  level  of  a  fine  art.  He  was  introduced  to  the 
medium  by  Mr.  Thomas  Way  in  1878,  and  be 
immediately  realized  its  possibilities  and  set  to 
work  to  turn  them  to  effect.  He  produced  in  1878 
and  1879  a  series  of  prints  in  which  technical 
mastery  is  combined  with  artistic  vision  to  bring 
about  charming  and  original  effects.  For  several 
years  after  this  Whistler  refrained  from  lithography, 
but  in  1887  he  turned  to  it  again.  In  this  year 
six  of  the  early  drawings,  viz.  '  Limehouse,* 
'Nocturne,'  'Gaiety  Stage  Door,'  'Victoria  Club,' 

361 


A   BIOGRAPHICAL  DICTIONARY  OF 


'  Old  Battersea  Bridge,'  and  '  Reading,'  were  issued 
in  a  portfolio  under  the  title  of  '  Notes,'  and  during 
the  next  ten  years  he  made  some  liundred  and 
twenty  prints,  which  display  greatvariety  in  subject 
and  in  treatment.  The  figure  studies,both  nude  and 
draped,  are  entirely  classical  in  feeling,  the  'Little 
Nude  Model  reading'  being  perhaps  the  most 
delicate  and  graceful  of  all.  The  portraits,  such  as 
those  of  Stephane  Mallarm^,  W.  E.  Henley,  and 
Mr.  and  Mrs.  Pennell,  are  masterpieces  of  character- 
ization, and  the  various  garden-scenes,  views  of 
London,  scenes  in  Paris  and  Brittany,  and  such 
drawings  as  'The  Forge'  and  'The  Smith'  of  the 
Passage  du  Dragon,  are  important  not  only  as 
showing  what  lithography  is  capable  of  in  the 
hands  of  a  master,  but  also  from  their  intrinsic 
beauty  and  charm.  With  the  exception  of  one  or 
two  Paris  subjects  all  the  original  impressions  of 
tlie  lithographs  were  printed  by  Way,  but  during 
the  present  year  (1904)  fifty-five  of  them  have 
been  reprinted  by  Goulding,  and  though  many 
of  the  prints  are  good,  others,  and  among  them 
some  of  the  finest  subjects,  such  as  the  'Little 
London '  and  '  Canal,  Vitr^,'  will  not  bear  com- 
parison with  the  earlier  proofs. 

In  1884  Whistler  became  a  member  of  the  Royal 
Society  of  British  Artists,  and  two  years  later  he  was 
elected  President.  He  did  not,  however,  retain  this 
position  long,  as  his  methods  were  too  radical  for 
the  older  members  of  the  Society,  and  in  1888  he 
was  compelled  to  resign.  In  the  same  year  he 
published  his  'Ten  o'Clock,'  a  brilliant  lecture 
delivered  in  1885,  in  which  he  expounded  his 
original  and  somewhat  startling  theories  on  art. 
This  was  followed  in  1890  by  the  publication  of 
a  volume  entitled  '  The  Gentle  Art  of  Making 
Enemies,'  in  which  he  collected  his  various  writings 
on  art,  together  with  a  record  of  the  innumerable 
controversies  in  which  he  had  been  engaged  for 
years  past,  and  which,  though  they  make  amusing 
reading,  would  have  been  better  forgotten.  They 
display  a  side  of  his  character  on  which  admirers 
•of  his  art  have  no  desire  to  dwell,  but  which  maj', 
perhaps,  throw  light  on  some  of  the  puzzling 
characteristics  of  his  painting.  In  1892  the  first 
representative  exhibition  of  his  paintings  was  held 
in  London  at  Messrs.  Goupil's  Gallery,  under  the 
title  of 'Nocturnes,  Marines,  and  Chevalet  Pieces.' 
It  included  a  large  number  of  the  painter's  finest 
pictures  of  all  periods,  and  its  success  was  a  proof 
•of  the  change  which  had  come  over  public  opinion 
with  regard  to  his  work.  In  the  previous  year  the 
Glasgow  Corporation  had  bought  the'Carlyle' — 
the  first  picture  by  Whistler  acquired  by  any 
public  gallery  ;  and  a  still  greater  honour  had  been 
paid  him  by  the  French  Government,  who  obtained 
the  'Mother's  Portrait'  for  the  Luxembourg.  In 
spite  of  the  hostility  of  English  critics  and  the 
English  public,  it  was  among  English  connoisseurs 
that  Whistler  had  hitherto  found  purchasers  for 
his  works.  Now,  however,  the  American  collectors, 
who  had  previously  ignored  him,  awoke  to  the  fact 
that  a  master  had  arisen  among  their  compiitriots, 
ani  since  that  time  a  very  large  number  of  his 
greatest  works  have  crossed  the  Atlantic.  Shortly 
after  this  exhibition.  Whistler  made  a  tour  in 
France  and  Brittany,  and  then  settled  in  Paris. 
Tlie  '  Portrait  of  Count  Robert  de  Montesquiou- 
Fezansac'  belongs  to  this  period,  as  well  as  a 
number  of  lithographs.  A  visit  to  Lyme  Regis  in 
1895  resulted  in  more  lithographs  and  two  import- 
ant portraits,  '  The  Master  Smith,'  and  '  The  Rose 

362 


of  Lyme  Regis.'  After  the  death  of  his  wife  in 
189G,  Whistler  continued  to  reside  in  Paris  for 
some  time,  but  finally  he  returned  to  London,  and 
the  last  years  of  his  life  were  spent  at  Cheyne 
Walk,  Chelsea.  During  these  last  years  his  work 
consisted  chiefly  of  small  oil-paintings,  many  of 
which  were  hung  at  the  exhibitions  of  the  Inter- 
national Society  of  Sculptors,  Painters  and  Gravers, 
of  which  he  was  the  first  President.  He  died  in 
London  on  July  17,  1903. 

Whistler's  early  work  is  signed  with  bis  name, 
but  in  the  sixties  he  adopted  the  butterfly  signature, 
of  which  several  varieties  are  here  shown.  The 
earliest  of  the  etchings  to  bear  the  butterfly  is 
'Chelsea  Wharf  (1863),  but  many  paintings  and 
etchings  after  that  date  are  signed  "  Whistler." 


w 


LIST   OF    MORE    IMPORTANT    PAINTINGS. 
.-.  The  date  of  first  exhibition  is  given  where  it  is 
approximately  contemporary  with  the  painting, 
(a)  Figure  Subjects. 
At  the   Piano.      1859   (R.  A.   1860).     {Mr.   Edmund 

Dams.) 
La  More  Gerard.    (R.  A.  1861.)    (Mr.  A.  C.  Swinburne.) 
The  Music  Room.     {Col.  F.  J.  Hecker.) 
The  White  Gu-1.    (Symphony  in  White,  No.  1.)    (Salon 

fles  Refus^es,  1863.)     {Mr.  J.  H.  jrhittenwre) 
The  Lange  Leizen — of  the  Six  Marks.     (R.  A.  1864.) 

{Mr.  J.  G.  Johnson.) 
La  Princesse  du  Pays  de  la  Porcelaine.     1864  (Salon, 

1865).     {Mr.  a  L.  Freer.) 
The  Little  White  Girl.     (Symphony  in  Wliite,  No. 

2.)     1864.     {Mr.  A.  K.  Siudd.) 
The     Golden       Screen.       (R.      A.      1865.)       {Lord 

Battersea.) 
Symphony    in   Wliite,  No.   3.    (R.  A.    1867.)     {Mr. 

Edmund  Davis.) 
The  Balcony.     (R.  A.  1870.)     {Mr.  C.  L.  Freer.) 

{b)  Portraits. 
Head  of  Himself  in  a  slouch  hat.     1857-8.     {Mr.S.P. 

Ai'ery.) 
Portrait  of  Himself  as  a  Young  Man.     {Mr.  George 

McCuUoch.) 
Portrait    of    Dr.    W.   McNeill    ^Vhistler.     {3Irs.    W. 

McNeill  Whistler. ) 
Portrait    of    the    Painter's    Mother.      (R.    A.    1872.) 

{Luxemhouni  Gallery.) 
Portrait    of   Thomas   Carlyle.     (Exhibition  of   1874.) 

{Glasgow  Gallery.) 
Portrait   of   Miss  Alexander.      (Exhibition  of   1874.) 

(Mr.   W.  C.  Alexander.) 
Portrait  of  F.  R.  Leyland.     (Exhibition  of  1874.) 
Portrait  of  Mrs,  F.  R.  Leyland.      (Exhibition  of  1874.) 
Portrait  of  Sir  Henry  Irving  as  Philip  II.  of  Spain. 

(Gro5%'enor,  1877.)     {Sir  H.  Irving.) 
Portrait    of    Mrs.    Louis    Huth.     1877.     {Mr.   Louis 

Huth.) 
Portrait  of    Miss   Rosa   Corder.     (Grosvenor,   1879.) 

{Mr.R.  A.  Canfield.) 
The  Fur  Jacket.     (Mr.  W.  Burrell.) 
Portrait  of  Lady  Meux.     (Harmony  in  Pink  and  Grey.) 

(Lady  Meux.) 
Portrait  of  Lady  Meux.     (Arrangement  in  Black  and 

White.)     (Salon,  1882.)     (Lady  Meux.) 
Portrait  of  Lady  Archibald  Campbell  ('  La  Dame  au 

Brodequiu  Jaunt-').     (Grosvenor,  1884.)     (IVilstach 

Collection,  Philadelphia.) 
Portrait    of  Theodore    Duret.     (Salon,    1885.)     (M. 

Theodore  Duret.) 
Pnrtr.iit    of    Sefior    Sarasate.     (Brit.   Artists,    1885.) 

[Carnegie  Institute,  Pittsburg.) 
Portrait  of  Count  Robert   de   Montesquiou-Fezansac. 

(Salon,  Champ  de  Mars,  1894.)    (Mr.  R.  A.  Canjield.) 


[AMI'S   .AIrNl-:iLL   WHISTLEI- 


IK 


T.  A'.  Aiinni  a/id  Sons  J'/io/o]  [Fre(r  Cillcf/ion 

LA  PRIXCESSE  DU   PAYS  DE  LA   PORCELAINE 


PAINTERS  AND   ENGRAVERS. 


The    Little    Rose    of    Lyme    Regis.     1895.     {Boston 

Museum.) 
The  Master  Smith  of   Lyme  Regis.     1895.     (Boston 

Museum.) 

(c)  Nocturnes^  Marines^  i^c. 
(The  exact  dates  of  the  Nocturnes  are  not  ascertain- 
able.) 
The    Thames    in    Ice.      (R.   A.   1862.)      (3tr.    C.  L. 

Freer.) 
The  Last  of  Old  Westminster.     (R.  A.   1863.)     (Mr. 

A.  A.  Pope.) 
Wapping.     (R.  A,  1864.) 
Old  Battersea  Bridge.     (R.  A.  1865.)     (Mr.  Edmund 

Davis.) 
Symphony  in  Grey  and  Green :  The  Ocean.     (Mr.  R, 

A.  Canfield.) 
Crepuscule  in  Flesh  Colour  and  Green :    Valparaiso. 

(hfr.  Graham  Robertson.) 
Nocturne  in  Blue  and  Gold  :  Valparaiso.     (Mr.  George 

McCulloch.) 
Nocturne  in  Blue  and  Silver,  No.  1:  Battersea  Reach. 

(Grosvenor,  1877.)     (Mrs.  F.  R.  Let/land.) 
Nocturne  in  Blue  and  Silver :  Battersea  Reach.     (Mr. 

C.  L.  Freer.) 
Nocturne  in  Blue  and  Silver:  Chelsea.     (Mr.  W,  C. 

Alexander.) 
Nocturne  in  Blue  and  Silver :  Cremome  Lights.     (Mr. 

A.  H.  Studd.) 
Cremorne  Gardens.     (Mr.  T.  R.  Way.) 
Nocturne  in  Black  and  Gold :  The  Falling  Rocket. 

(Mrs.  Samuel  Untervieyer.) 
Nocturne  in  Black  and  Gold :  The  Fire  Wheel.     (Mr. 

A.  H.  Studd.) 
Nocturne  in  Blue  and  Gold  :  Old  Battersea  Bridge. 
Nocturne  in  Grey  and  Gold :  Chelsea  Snow. 
Nocturne  :  Trafalgar  Square — Snow. 
Nocturne  in  Grey  and  Silver:  Chelsea  Embankment. 

(Mr.  C.  L.  Freer.) 
Nocturne  in  Blue  and  Gold  :  St.  Mark's,  Venice.    1880. 
Nocturne  in  Blue  and  Silver :  The  Lagoon,  Venice. 

1880. 
Nocturne  in  Blue  and  Silver  :  Bognor.     (Mr.  C.  L. 

Freer. ) 
Nocturne;    Southampton  Water.     (Art  Institute  of 

Chicago.) 
The  Blue  Wave,  Biarritz.     (Mr.  A.  A.  Fope.) 

ETOHINQS. 

Although  it  is  not  possible  at  the  present  time 
to  give  a  final  list  of  every  etching  which  Whistler 
produced,  it  may  safely  be  said  that  those  which 
are  not  mentioned  in  the  second  edition  (1899)  of 
Mr.  Wedmore's  Catalogue  are  mostly  minor  pieces, 
rarely  accessible,  and  this  remark  applies  even 
more  to  the  few  still  undescribed.  Mr.  Wedmore 
has  very  kindly  allowed  the  use  of  his  Catalogue 
as  the  basis  of  the  following  list,  which  has  been 
compiled  from  various  sources.  The  references 
are  to  Wedmore  (W.),  the  Supplementary  Cata- 
logue, New  York,  1902  (Sup.),  and  the  Catalogue 
of  the  exhibition  held  by  the  Grolier  Club,  New 
York,  1904  (G.).  It  may  be  mentioned  that  the 
Grolier  Club  has  in  preparation  a  complete  series 
of  reproductions  of  every  state  of  every  etching  by 
Whistler. 

Early  Portrait  of  Whistler.     (W.  1.) 

Annie  Haden.     (W.  2.) 

The  Dutchman  holding  the  Glass.     (W.  3.) 

Au  Sixieme.     (G.  4.) 

THE  FRENCH  SET. 
Liverdun  (W.  4) ;  La  Ri5tameuse  (W.  5) ;  En  Plein 
Soleil  (W.  6)  ;  The  Unsafe  Tenement  (W.  7)  ; 
La  Mire  Gerard  (W.  9) ;  Street  at  Saveme  (W.  11) ; 
Little  Arthur  (W.  13)  ;  La  Vieille  aui  Loques 
(W.  14) ;  Annie  (W.  15)  ;  La  Marchande  de 
Moutarde  ( W.  16) ;  Fumette  (W.  18) ;  The  Kitchen 
(W.  19),  (this  plate  was  afterwards  retouched, 
and  was  published  by  the  Fine  Art  Society  in  1885). 
Title  to  the  French  Set  (W.  20). 

The  Dog  on  the  Kennel.     (W.  8.) 


La  Mire  Girard,  stooping.     (W.  10.) 

Gretchen  at  Heidelberg.     (W.  12.) 

The  Rag-gatherers.     (W.  IT.) 

Auguste  Deliltre.     (W.  21.) 

A  Little  Boy.     (W.  22.) 

Seymour  standing  under  a  Tree.     (W.  23.) 

Seymour,  standing.     (Sup.  362.) 

Annie,  seated.     (W.  24.)  ^ 

Reading  by  Lamplight.     (W.  25.) 

The  Music  Room.     (W.  26.) 

Soupe  A  trois  Sous.     (W.  27.) 

Bibi  Valentin.     (W.  28.) 

Reading  in  Bed.    (W.  29.) 

Bibi  Lalouette.     (W.  30.) 

The  Wine  Glass.     (W.  31.) 

Greenwich  Pensioner.     (W.  32.) 

Greenwich  Park.     (W.  33.) 

Nursemaid  and  Child.     (W.  34.) 

THE   THAMES   SET. 
Thames  Warehouses  from  Thames  Tunnel  Pier  (W. 
35)  ;   Westminster  Bridge   (W.    36) ;    Limehouse 
(W.   37) ;    Tyzac,  Whiteley  and  Co.    (W.   39) 
Black  Lion  "Wharf  (W.  40)  ;   The  Pool  (W.  41) 
Thames  PoUce  (or  '  Wapping  Wharf ')  (W.  42) 
The  Lime-Bumer   (W.    44);    Becquet   (W.  48) 
Rotherhithe   (W.   60);    Millbank   (W.  67);   The 
Little   Pool  (W.   72);    Cadogan   Pier   (or  'Early 
Morning,  Battersea ')   (W.  79)  ;    Old  Hungerford 
Bridge  (W.  80) ;    Chelsea    Bridge    and    Church 
(W.85). 

A  Wharf.     (W.  38.) 

Longshoremen.     (W.  43.) 

Billingsgate.    (W.  45.)    Published  in '  The  Portfolio  ' ; 
100  proofs  taken  before  the  magazine  issue. 

The  Landscape  with  the  Horse.     (W.  46.) 

Arthur  Seymour.     (W.  47) 

Astruc,  a  Literary  Man.     (W.  49.) 

Fumette,  standing.     (W.  50.) 

Fumette's  bent  Head.     (W.  51.) 

Portrait  of  Whistler.     (W.  52.) 

Drouet.     (W.  53.) 

Finette.     (W.  54.) 

Paris  :  Isle  de  la  Cit4.     (W.  55.) 

Venus.     (W.  56.) 

Annie  Haden.     (W.  57.) 

Mr.  Mann.     (W.  58.) 

The  Penny  Boat— A  Sketch  at  Limehouse.     (W.  59.) 

Axenfeld.     (W.  61.) 

The  Engraver  (M.  Riault).     (W.  62.) 

The  Forge.     (W.  63.) 

.Toe.     (W.  64.) 

Joe's  bent  Head.     (Sup.  370.) 

The  Miser.     (W.  65.) 

Vauxhall  Bridge.     (W.  66.) 

The  Punt.     (W.  68.) 

Sketching.     (W.  69.) 

Sketching,  No.  2.     (G.  72.) 

Westminster  Briilge  in  Progress.     (W.  70.) 

The  Little  Wapping.     (W.  71.) 

Tiny  Pool.     (W.  73.) 

Ratclifte  Highway.     (W.  74.) 

Encamping.     (W.  75. ) 

Ross  Winans.     (W.  76.) 

The  Storm.     (W.  77.) 

Little  Smithfield.     (W.  78.) 

Chelsea  Wharf.     (W.    81.)     First   etching   with    the 
butterfly  signature,  1863. 

Amsterdam,  etched  from  the  Tolhuis.     (W.  82.) 

Weary,     (W.  83.) 

Shipping  at  Liverpool.     (W.  84.) 

Speke  Hall.     (W.  86.) 

Speke  Hall,  No.  2.     (Sup.  269.) 

The  Model  Resting.     (W.  87.) 

Whistler's  Mother.     (W.  88.) 

The  Swan  Brewery.     (W.  89.) 

Fosco.     (W.  90.) 

The  Velvet  Dress.     (W.  91.) 

The  Little  Velvet  Dress.     (W.  92.) 

F.  R.  Leyland.     (W.  93.) 

Fannie  Leyland.     (W.  94.) 

EUnor  Leyland.     (W.  95.) 

Florence  Leyland.     (W.  96.) 

F.  R.  Ley  land's  Mother.     (W.  227.) 

363 


A  BIOGRAPHICAL  DICTIONARY  OF 


Young  Woman,  standing.    (Sup.  371.) 

The  Silk  Dress. 

Beading  a  Book.     (W.  97.)  „    .     ,„^„ 

Tatting.    (W.  98.)   Published  by  Dowdeswella  m  1880. 

Maude.     (W.  99.) 

Maude,  seated.     (W.  100.) 

The  Beach.     (W.  101) 

Tillie  ;  a  Model.     (W.  102.) 

Nude  Figure,  standing.     (Sup.  372.) 

Seatc'dGirl.     (W.  103.) 

The  Desk.     (W.  104.) 

Resting.     (W.  105.) 

Agnes.     (W.  106.) 

The  Model,  lying  down.     (W.  107.) 

Two  Sketches.     (W.  108.) 

The  Boy.     (W.  109.) 

Swiuburne.     (W.  110.) 

Lady  at  Window.     (W.  111.) 

A  Child  on  a  Couch.     (W.  112.) 

Sketch  of  a  Girl,  nude.     (W.  113.) 

Steamboats  off  the  Tower.     (W.  114.) 

The  Little  Forge.     (W.  115.) 

The  Little  Forge,  No.  2. 

Two  Ships.    (W.  116.)    Published  by  Dowdeswells  in 

1880. 
The  Piano.     (W.  117.) 
The  Scotch  Widow.     (W.  118.) 
A  Lady  wearing  a  Hat  and  Feather.     (Sup.  364.) 
A  Girl  with  large  Eyes.     (Sup.  365.) 
Sketch  of  twelve  Heads.     (Sup.  366.) 
Speke  Shore.     (W.  119.) 
The  Dam  Wood.     (W.  120.) 
Shipbuilders*  Yard.     (W.  121.) 
The  Guitar-Player.     (W.  122.) 
London  Bridge.     (W.  123.) 
Price's  Candle-Works.     (W.  124.) 
Battersea— Dawn.     (W.  125.) 
The  Muff.     (W.  126.) 
Sketch  of  Ships.     (W.  127.) 
The  White  Tower.     (W.  128.) 
The  troubled  Thames.     (W.  129.) 
A  Sketch  from  Billingsgate.     (W.  130.) 
Fishing  Boats  :  Ha.-stmgs.     (W.  131.) 
Wych  Street.     (W.  132.) 
Temple  Bar.     (W.  133.) 
Free-Trade    Wharf    (or    'The     Little     Limehouse'). 

(W.  134.)    Published  by  the  Fine  Art  Society  in 

1877. 
The  Thames  towards  Erith.     (W.  135.) 
Lindsay  Houses.     (W.  136.) 
From  Pickled  Herring  Stairs.     (W.  137.) 
Lord  Wolsey.     (W.  138.) 
Irving  as  Philip  II.  of  Spain.     (W.  139.) 
St.  James' Street.     (W.  140.)     A  lithograph  from  this 

plate  waa  pubUshed  in  '  Vanity  Fair,'  lt>78. 
Battersea  Bridge.     (W.  141.) 
Whistler,  with  the  White  Lock.     (W.  142.) 
The  Large  Pool.     (W.  143.) 
The  Adam  and  Eve,  Old  Chelsea.     (W.  144.) 
Putney  Bridge.     (W.  145.) 
The  Little  Putney.     (W.   146.)    First  issued  by  the 

Fine  Art  Society  in  1879.     Afterwards  published  in 

the  Limited  Edition  of  Wedmore's  '  I'our  Masters  of 

Etchkig.' 
Little  Putney,  No.  2.     (Sup.  278.) 
Battersea  Bridge,  No.  2.     (Sup.  279.) 
Under  Old  Battersea  Bridge.     (Sup.  280.) 
Hurlingham.     (W.  147.) 
Fulham.     (W.  148.) 

THE  VENICE  SET  (twelve  etchings).     Published 

by  tlie  Fine  Art  Society  in  1880.     (W.  149- 

160.) 

The   Little   Venice ;    Nocturne  ;    The  Little   Mast ; 

The  Little  Lagoon  ;  The  Palaces ;  The  Doorway  ; 

The  Piazzetta  ;  The  Trnghetto  (two  plates  of  this 

subject  exist,  one  of  which  (Sup.  363)   was  not 

completed);    The    Eiva ;    Two   Doorways;    The 

Beggars  ;   The  Mast. 

THE     TWENTY-SIX     ETCHINGS.      Published     by 
Dowdeswells  in  1886.     (W.  161-186.) 
Doorway    and    Vine ;    Wheelwright ;    San    Biagio ; 
Bead    Stringers  ;    Turkeys  ;     Fruit    Stall ;     San 

364 


Giorgio ;  Nocturne  Palaces ;  Long  Lagoon ; 
Temple;  The  Bridge;  Upright  Venice;  Little 
Court ;  Lobster  Pots  ;  The  Kiva,  No.  2  ;  Drury 
Lane ;  The  Balcony ;  Fishing  Boat ;  Ponte  Piovan ; 
Tiie  Garden  ;  The  Kialto  ;  Long  Venice  ;  Furnace 
Nocturne ;  Quiet  Canal ;  Salute  :  Dawn ;  Lagoon : 
Noon. 

Murano :  Glass  Furnace.     (W.  187.) 

Fish  Shop,  Venice.     (W.  188.) 

The  Dyer.     (W.  189.) 

Little  Salute.     (W.  190.) 

Wool  Carders.     (W.  191.) 

Regent's  Quadrant.     (W.  192.) 

Islands.     (W.  193.) 

Nocturne  :  Shipping.     (W.  194.) 

Old  Women.     (W.  195.) 

Aldemey  Street.  (W.  196.)  PubUshed  in  the 
'  Gazette  des  Beaux  Arts,'  April  1881. 

The  Smithy.     (W.  197.) 

Stables.     (W.  198.) 

Nocturne  :  Salute.     (W.  199.) 

Venice.     (Sup.  361.) 

Courtyard,  Venice.     (G.  203.) 

Gondola  under  a  Bridge.     (G.  204.) 

The  Steamboat :  Venice.     (G.  205.) 

Venetian  Water  Carrier.     (G.  206.) 

Shipping:  Venice.     (G.  207.) 

Dordrecht.    (W.  200.) 

A  Corner  of  the  Palais  Royal.     (W.  201.) 

Sketch  at  Dieppe.     (W.  202.) 

Booth  at  a  Fair.     (W.  203.) 

Cottage  Door.     (W.  204.) 

The  Village  Sweet  Shop.     (W.  205. ) 

The  Seamstress.     (W.  206.) 

Sketch  in  St.  James'  Park.     (W.  207.) 

Fragment  of  Piccadilly.     (W.  208.) 

The  Towiug  Path.     (G.  217.) 

Old  Clothes  Shop.     (W.  209.) 

Fruit  Shop,  Chelsea.     (W.  210.) 

Sketch  on  the  Embankment.     (W.  211.) 

The  Menpes  Children.     (W.  212.) 

The  Steps.     (VV.  213.) 

The  Fish  Shop  :  '  Busy  Chelsea.'     (W.  214.) 

T.  A.  Nash.     (W.  215.) 

Furniture  Shop.     (W.  216.) 

Savoy  Scaffolding.     (W.  217.) 

Railway  Arch.     (W.  218.) 

Rochester  Row.     (W.  219.) 

York  Street,  Westminster.     (W.  220.) 

The  Fur  Cloak.     (W.  221.) 

NoraQuinn.     (Sup.  367.) 

Woman,  seated.     (W.  222.) 

Steamboat  Fleet.     (W.  223.) 

Mother  and  Child  (Cameo,  No.  1).     (W.  224.) 

Cameo,  No.  2.     (Sup.  311.) 

Nude  Figure,  reclining.     (Sup.  304.) 

Sketch  of  Battersea  Bridge.     (W.  225.) 

Putney,  No.  3.     (W.  226.) 

Wild  West.     (W.  228.) 

The  bucking  Horse.     (Sup.  290.) 

The  Wild  West— Buffalo  Bill.     (G.  241.) 

The  Barber's.     (W.  229.) 

Petticoat  Lane.     (W.  230.) 

Old  Clothes  Exchange.     (W.  231.) 

St.  James'  Place,  Houndsditch.     (W.  232.) 

Fleur  de  Lys  Pa.ssage.     (W.  233.) 

Cutler's  Street,  Houndsditch.     (W.  234.) 

The  Cock  and  the  Pump,  Sandwich.     (W.  235.) 

Salvation  Army,  Sandwich.     (W.  236.) 

Double  Doorway,  Sandwich.     (Sup.  271.) 

Doorway,  Sandwich.     (Sup.  272.) 

Butcher's  Shop,  Sandwich.     (Sup.  273.) 

Ramparts,  Sandwich.     (Sup.  274.) 

Visitor's  Boat.     (W.  237.) 

Troop  Ships.     (W.  238.) 

Monitors.     (W.  239.) 

Dry  Dock,  Southampton.     (W.  240.) 

Bunting.     (W.  241.) 

Dipping  the  Flag.     (W.  242.) 

The  Fleet— Evening.     (W.  243.) 

Return  to  Tilbury.     (W.  244.) 

Ryde  Pier.     (W.  245.) 

Portsmouth  Children.     (Sup.  275.) 

Tilbury.     (Sup.  276.) 


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PAINTERS  AND  ENGRAVERS. 


The  Turret  Ship.    (G.  261.) 

Abbey  Jubilee.     (Sup.  288.) 

Clielsca  (Memoriiil).     (W.  246.) 

Windsor  (Memorial).     (W.  247.) 

Windsor.     (Sup.  277.) 

Canal,  Ostend.     (W.  248). 

Quay,  Ostend.     (Sup.  318.) 

The  Beach,  Ostend.     (G.  268.) 

Church,  Brussels.     (W.  249.) 

Courtyard,  Brussels.     (W.  250.) 

Grande  Place,  Brussels.     (W.  251.) 

Palace,  Brussels.     (W.  252.) 

The  Barrow,  Brussels.     (W.  253.) 

High  Street,  Brussels.     (W.  254.) 

Flower  Market,  Brussels.     (Sup.  346.) 

Gold  House,  Brussels.     (Sup.  347.) 

Butter  Street,  Brussels.     (Sup.  348.) 

House  of  the  Swan,  Brussels.     (Sup.  349.) 

Archway,  Brussels.     (Sup.  350.) 

Courtyard,  Kue  P.  L.  Courier.     (Sup.  351.) 

Brussels  Cliildren.     (Sup.  352.) 

Little  Butter  Street,  Brussels.     (Sup.  353.) 

Market  Plac,  Bruges.     (W.  255.) 

Passages  de  I'Opira.     (W.  256.) 

Carpet  Menders.     (W.  257.) 

Sunflowers,  Eue  des  Beaux-Arts.     (W.  258.) 

B6b6s,  Luxembourg.     (Sup.  313.) 

The  Terrace,  Luxembourg  Gardens.     (Sup.  314.) 

The  Terrace,  Luxembourg  Gardens,  No.  2.     (G.  352.) 

Boulevard  Poissouni^re.     (Sup.  315.) 

Kue  Rochefoucault.     (Sup.  316.) 

Quai  de  Montebello.     (Sup,  317.) 

Dray  Horse,  Paris.     (G.  347.) 

Marchand  de  Vin,  Paris.     (G.  348.) 

Rue  de  Seine,     (G,  349,) 

Atelier  Bijouterie.     (G,  350,) 

Caf6  Luxembourg.     (G.  351.) 

Fruit  Shop,  Paris,     (G,  353.) 

The  Wine  Shop,     (G,  354,) 

The  Picture  Shop,     (G,  355,) 

Mairie,  Leches,     (W,  259,) 

Chancellerie,  Loches,     (Sup,  334,) 

Market  Women,  Loches,     (Sup,  335,) 

Hotel  Promenade,  Loches,     (Sup,  336,) 

Theatre,  Loches,     (Sup,  337,) 

Tour  St,  Antoine,  Loches.     (Sup,  338.) 

Market  Place,  Loches.     (Sup,  339,) 

Renaissance  Window,  Loches,     (Sup,  340.) 

Hotel  de  Ville,  Loches.     (G.  379). 

From  Agnes  Sorel's  Walk,  Loches.     (G.  380.) 

Railway  Station,  Voves.     (Sup,  319.) 

Rue  des  Bons  Eufants,  Tours,     (Sup,  320,) 

Hotel  Croix  Blanche,  Tours,     (Sup,  321.) 

Market  Place,  Tours.     (Sup,  322,) 

Hangman's  House,  Tours,      (Sup,  323,) 

Little  Market  Place,  Tours,     (Sup,  324.) 

Cellar  Door,  Tours,     (Sup.  325.) 

Place  Daumont.     (Sup.  326.) 

Chateau.     (Sup,  327,) 

Chateau,  Touraine,     (Sup,  328,) 

Doorway,  Touraine,     (Sup,  329,) 

Court  of  the  Monastery  of  St,  Augustine,  Bourges, 

(Sup,  330.) 
Hotel  AUement,  Bourges,     (Sup,  331,) 
Windows,  Bourges,     (Sup,  332,) 
Hotel  Windows,  Bourges,     (G,  370,) 
Windows  opposite  Hotel,  Bourges.     (Sup,  333.) 
Notre  Dame,  Bourges,     (G,  371.) 
Chapel  Doorway,  Montresor,     (Sup.  341.) 
Chateau,  Amboise.     (Sup,  342,) 
Clock  Tower,  Amboise.     (Sup.  343.) 
Gateway,  Chartreuse.     (Sup,  344.) 
Under  the  Cathedral,  Blois,     (Sup.  345,) 
Chateau  Vemeuil,     (Sup,  354, ) 
Steps,  Amsterdam,     (W,  200,) 
Square  House.     (W.  261,) 
Balcony,  Amsterdam,     (W.  262,) 
Little  Drawbridge.     (W.  263.) 
Pierrot,     (W,  264.) 
Nocturne  :  Dance  House,     (W,  265,) 
Long  House — Dyer's — Amsterdam,     (W,  266.) 
Bridge,  Amsterdam.     (W.  267. ) 
Church,  Amsterdam,     (Sup,  355.) 
The  Embroidered  Curtain.    (Sup.  356.) 


Jews'  Quarters,  Amsterdam.     (Sup.  357.) 

Little  Nocturne,  Amsterdam.     (Sup.  359.) 

The  Mill.     (Sup,  358,) 

Zaandam,     (W.  268,) 

The  Little  Wheelwright's,     (G.  294.) 

Little  Dordrecht.     (G.  295.) 

Boats,  Dorih-echt.     (G.  296.) 

Church  Doorway,  Edgemere,     (Sup.  270.) 

Melon  Shop,  Houndsditch.     (Sup.  281.) 

After  the  Sale,  Houndsditch.     (Sup.  282.) 

Steps,  Gray's  Inn.     (Sup,  283,) 

The  Young  Tree  (Gray's  Inn  Babies),     (Sup,  284.) 

The  Greedy  Baby.     (G.  306.) 

Gray's  Inn  Place.     (Sup.  285, ) 

Seats,  Gray's  Inn.     (Sup,  286,) 

The  Little  Nurse,     (Sup.  307.) 

Babies,  Gray's  Inn.     (G.  310. ) 

ChiUlren,  Gray's  Inn.     (G.  311.) 

Exeter  Street.     (Sup.  287.) 

Bird  Cages,  Drury  Lane.     (Sup,  289.) 

Rag  Shop,  Milmau's  Row.     (Sup,  291,) 

St,  Martin's  Lane  :    Rag  Shop.     (G,  315,) 

Old  Clothes  Exchange,  No,  2,     (Sup,  292,) 

Charing  Cross  Railway  Bridge,     (Sup,  293,) 

Shaving  and  Shampooing.     (Sup.  294.) 

Jubilee  Place,  Chelsea,     (Sup,  295,) 

Justice  Walk,  Chelsea.     (Sup.  296.) 

Bird  Cages,  Chelsea.     (Sup.  297.) 

Merton  Villa,  Chelsea.     (Sup.  298.) 

King's  Road,  Chelsea.     (G.  323.) 

The  Hansom  Cab  (or  '  Wimpole  Street ').     (G.  324.) 

Little  Maunders.     (Sup.  29S.) 

Woods'  Fruit  Shop,     (G,  326,) 

Custom  House,     (Sup,  300,) 

Nut  Shop,  St,  James'  Place.     (Sup.  301.) 

Old  Clothes  Shop,  No,  3,     (Sup,  302.) 

Model,  stooping,     (Sup.  303.) 

Binding  the  Hair,     (Sup.  305,) 

The  Little  Hat,     (Sup,  306.) 

The  Little  Nursemaid.     (Sup.  307.) 

Baby  Pettigrew,     (Sup.  308,) 

Miss  Lenoir,     (Sup,  309,) 

Swan  and  Iris,     (Sup,  310.)     Etched  from  a  sketch  in 

oils  by  Cecil  Lawson,  and  published  in  the  memoir  of 

that  artist  by  Edmund  Gosse. 
Marbles.     (Sup,  312,) 
Resting  by  the  Stove.     (G.  336.) 
Little  Nude  Figure,     (G,  337.) 
Model,  No.  3,     (G,  338.) 
The  Bonnet  Shop.     (G.  339.) 
The  Mantle.     (G.  340.) 
An  Eagle,     (Sup.  369,) 
Bohemians,  Corsica,     (Sup,  360,) 
The  Hole  in  the  Wall :  Ajaccio. 
Dreux  :  Fruit  Shop. 
There  exists  also  a  plate  called  '  The  Wood,'  etched  by 

Whistler  and  Sir  Seymour  Haden  in  conjunction  ; 

and  a  sketch  of  *  Fitzroy  Square,'  which  was  scratched 

on  the  plate  by  Whistler,  and    bitten  in,  after  his 

death,  by  Mr.  Frank  Short. 

BIBLIOGRAPHY. 

Frederick  Wedmore,  '  Catalogue  of  Whistler's  Etch- 
ings.'   (2nd  edition,  London,  1899.) 

An  Amateur  [E,  G,  Kennedy],  'Catalogue  of  Etch- 
ings by  J.  McNeill  'WTiistler.'  (New  York,  1902,) 
Supplementary  to  Wedmore's  Catalogue, 

T,  B.  Way,  'Mr.  Whistler's  Lithographs:  The  Cata- 
logue.'    (London,  1896.) 

T.  R,  Way  and  G,  R,  Dennis,  'The  Art  of  James 
McNeill  Whistler,'     (London,  1903,) 

A,  J.  Eddy,  '  Recollections  and  Impressions  of  James 
A.  McNeill  Whistler.'     (Philadelphia,  1903.) 

Theodore  Duret,  '  Histoire  de  J.  McNeill  Whistler 
et  de  son  ceuvre.'     (Paris,  1904.) 

M.  Menpes,  'Whistler  as  I  knew  him.'  (London 
1904.) 

Frederick  Wedmore,  '  The  Place  of  Whistler.'  ('Nine- 
teenth Century,'  April  1904.)  0  g  J) 

WHITAKER,  George,  landscape  and  marine 
painter  in  water-colour,  was  born  at  Exeter  on 
August  28,  1834.  He  studied  engineering  as  a 
profession,  but  bis  love  of  art  induced   bim   to 

365 


A  BIOGRAPHICAL  DICTIONARY  OF 


become  a  pupil  of  Charles  Williams  and  try  his 
fortune  as  a  painter.  From  1859  to  1868  he  sent 
landscapes  to  the  British  Institution,  the  Dudley 
Gallery,  and  Suffolk  Street.  He  was  specially 
happy  in  the  drawing  of  sen-coasts  and  shipping. 
A  small  picture  of  his,  'The  Morning  Watch,' 
is  in  the  Albert  Museum  at  Exeter,  and  in  the 
Victoria  and  Albert  Museum,  South  Kensington, 
is  his  '  Water-Mill  and  Cottages,  Stoke  Gabriel, 
Devonshire,'  dated  1865.  He  died  at  Dartmouth 
on  September  16,  1874.  M,  H. 

WHITAKER,  James  William,  a  painter  in 
water-colours  who  resided  most  of  his  time  in 
North  Wales,  and  who  was  a  close  friend  of 
F.  W.  Topham.  He  was  a  Manchester  man,  the 
son  of  a  warehouseman,  and  born  in  1828,  and  his 
early  days  were  spent  as  an  engraver  for  calico 
printers.  As  soon,  however,  as  he  was  able  to  sell 
his  sketches,  he  relinquished  his  work  as  an 
engraver,  and  settled  down  at  Ffrith  Cottage, 
Llanrwst,  in  North  Wales,  where  he  worked  very 
hard  at  making  drawings  of  Welsh  seer  ery.  He 
became  an  As.sociate  of  the  Society  of  Painters  in 
Water-Colours  in  1862,  and  a  full  member  in  1864, 
and  he  exhibited  191  pictures  in  the  Gallery, 
almost  all  representing  Welsh  scenery.  Tlie  ex- 
ceptions were  four  views  on  the  Northumberland 
coast,  and  one  in  Scotland,  with  two  which  he 
painted  in  Switzerland  on  the  occasion  of  a  short 
summer  holiday  spent  in  that  country  in  1865  or 
'66.  His  death  occurred  at  the  Miner's  Bridge, 
Llugwy,  where  he  slipped  in  endeavouring  to 
collect  some  painting  materials  that  had  been  left 
during  the  afternoon.  He  fell  on  to  a  shelving  rock 
about  thirty  feet  below,  and  his  body  was  washed 
down  the  stream,  and  was  not  recovered  for  some 
few  days.  His  wife,  Sarah  Heyes,  the  daughter  of 
a  calico  printer,  had  predeceased  him,  but  he  left 
four  children,  the  youngest  a  boy  of  twelve. 
During  his  residence  in  Wales  he  had  succeeded 
to  a  small  fortune,  which  passed  to  his  children, 
and  was  sufficient  to  keep  them  in  fairly  comfort- 
able circumstances.  His  work,  somewhat  limited 
in  its  range,  constituted  very  faithful  repro- 
ductions of  wild  scenery,  drawn  "  with  a  sug- 
gestive strength  which  few  could  surpass." 

WHITCOMBE,  Thomas,  an  English  marine 
painter,  born  about  1760.  His  works,  which  dealt 
with  storms,  naval  battles,  &c.,  appeared  at  the 
Royal  Academy  from  1783  to  1824.  His  best  work 
was  the  '  Destruction  by  night  of  the  Spanish 
batteries  before  Gibraltar,  1783.' 

WHITE,  Charles,  an  English  engraver,  was 
born  in  London  in  1751.  He  was  a  pupil  of 
Pranker,  on  leaving  whom  he  quitted  line  engraving, 
and  worked  chiefly,  if  not  entirely,  in  stipple.  He 
was  for  some  time  engaged  on  trifling  subjects 
from  designs  by  ladies,  but  in  the  latter  part  of  his 
life  he  was  employed  on  works  of  more  import- 
ance, among  them  a  series  of  plates  of  '  The  Ruins 
of  Rome,'  and  others  for  works  on  natural  history. 
He  also  helped  to  illustrate  Bell's  edition  of  the 
Poets,  and  was  the  author  of  some  comic  drawings, 
among  them  a  '  Masquerade  at  the  Pantheon.'  He 
married  a  daughter  of  Gerard  Van  der  Gucht.  He 
died  in  Pimlioo,  August  28,  1785. 

WHITE,  Charles  William,  an  English  en- 
graver, was  born  in  London  early  in  the  18th 
century.  He  was  a  pupil  of  George  White,  and 
practised  from  about  1760  to  1785.  His  plates  are 
chiefly  after  Stothard,  Cosway,  Pether  and  Bunbury. 
WfllTE,  Edwin,  an  American  painter,  born  about 
366 


1817.  He  began  to  paint  when  only  twelve  years 
old,  and  studied  in  Paris,  Rome,  Florence,  and 
Diisseldorf.  His  pictures  were  chiefly  historical, 
the  subjects  of  many  being  taken  from  American 
history.  Among  them  we  may  mention '  Washing- 
ton resigning  his  Commission,'  'The  first  New 
England  Thanksgiving,'  '  The  Signing  of  the  Com- 
pact on  the  Mayflower.'     He  died  in  1877. 

WHITE,  George,  the  son  of  Robert  White,  was 
born  about  1671.  He  was  instructed  in  drawing 
and  engraving  by  his  father,  but  first  practised  as 
a  portrait  painter,  both  in  oil  and  in  miniature. 
After  the  death  of  Robert  White  he  finished  the 
plates  left  incomplete  by  him,  and  also  engraved 
some  portraits  in  the  same  style.  Those  of  the 
Duke  of  Ormond  and  Lord  Clarendon,  prefixed  to 
the  '  Rebellion  in  Ireland,'  may  be  especially 
praised.  But  his  best  prints  are  in  mezzotint,  in 
using  which  process  he  frequently  etched  the  out- 
line before  the  ground  was  laid  upon  the  plate. 
He  engraved  much  after  Kneller,  and  is  said  to 
have  become  eo  troublesome  to  that  painter  by 
constantly  requesting  him  to  touch  on  proofs,  that 
Sir  Godfrey  forbade  him  his  house.  His  death  is 
supposed  to  have  occurred  about  1734.  A  small 
chalk  portrait  of  Martha  Blount  by  him  is  dated 
1732.     The  following  are  his  best  plates : 

MEZZOTINTS. 

Sir  Richard  Blackmore,  M.D.;  after  J.  van  der  Bank. 
Sylvester  Petyt,  Principal  of  Barnard's  Inn. 
Nicholas  Sanderson,  Professor  of  Mathematics  at  Cam- 
bridge. 
Jean  Baptiste  Monnoyer,  Painter;  after  Kneller. 
John  Dryden  ;  after  the  same. 
Alexander  Pope  ;  after  the  same. 
Thomas  Bradbury  ;  after  Gibson. 
George  Hooper,  Bishop  of  St.  Asaph  ;  after  Mill. 
Colonel  Blood  (who  stole  the  Crown). 
"William  Dobson,  Painter  ;  from  a  picture  by  himself. 
A  Man  playing  on  the  Violin  ;  after  Frans  Hals.    1732. 

PORTRAITS    IN   LINE. 

James  Gardiner,  Bishop  of  Lincola  ;  after  3f.  Vahl. 
Charles  II.  of  Spain ;    begun  by   Robert   White,  and 

finished  by  George  "White,  whose  name  is  affixed. 
The  Duke  of  Ormoud. 
Lord  Clarendon. 

WHITE,  Gleeson,  designer  and  critic,  deserves 
mention  here  rather  on  account  of  the  influence  he 
exercised,  than  for  his  actual  art  work.  Born  in 
1851,  nearly  forty  years  of  his  life  were  spent  at 
Christchurch  in  Hampshire,  where  he  carried  on 
his  father's  business  as  a  bookseller.  His  extensive 
reading,  keen  sympathies,  and  catholic  tastes 
enabled  him,  in  the  seclusion  of  a  quiet  country 
town,  to  fit  himself  for  the  position  he  afterwards 
occupied  ;  and  on  coming  to  London,  after  a  year 
in  America  in  1891,  he  at  once  made  his  influence 
felt.  As  first  editor  of  the  '  Studio,'  and  adviser  in 
art  matters  to  a  large  publishing  firm,  he  found  a 
congenial  field  for  his  energies.  His  wide  and 
accurate  knowledge  (extending  to  the  technicalities 
of  all  the  applied  arts)  was  combined  with  instinc- 
tive appreciation  of  all  that  was  good  in  art  as  well 
as  in  literature  and  music,  and  hatred  of  anything 
like  sham  or  imposture.  He  was  a  brilliant  talker 
and  a  fluent  writer,  and  though  he  held  very  strong 
opinions,  he  never  allowed  his  personal  predilections 
or  antipathies  to  blind  him  to  what  was  meritorious 
in  the  work  of  any  school.  His  own  designs  were 
full  of  di-stinction  and  grace,  and  his  designs  for 
book-bindings,  which  were  practically  the  first  of 
their   kind,  and   started   the   modern   fashion   of 


PAINTERS  AND  ENGRAVERS. 


decorated  cloth  covers,  besides  being  admirably 
adapted  for  their  purpose,  show  excellent  taste 
and  considerable  versatility  of  invention.  His 
death  in  1898  deprived  the  modern  decorative 
movement  of  one  of  its  ablest  and  sanest  leaders, 
and  hundreds  of  young  artists  and  writers  of  a 
sympathetic  and  never-failing  friend.  G.  E.  D. 

WHITE,  Henry,  an  English  wood  engraver 
and  pupil  of  Bewick.  He  had  previously  worked 
under  James  Lee.  Settling  in  London  he  produced 
much  good  work,  notably  the  illustrations  for 
Hone's  '  House  that  Jack  Built,'  'The  Matrimonial 
Ladder,'  <tc. 

WHITE,  John  Blake,  an  American  painter, 
born  in  South  Carolina,  in  1781.  He  studied  for 
four  years  in  London  under  Benjamin  West,  and 
returning  to  America,  settled  at  Charleston,  where 
he  combined  painting  with  the  practice  of  law. 
His  works,  chiefly  historical  pictures,  and  portraits, 
are  numerous  in  America.  He  was  also  well  known 
as  a  writer  of  plays,  essays,  &c.  He  died  in  1859. 
WHITE,  Robert,  engraver  and  draughtsman, 
was  born  in  London  in  16-15,  and  was  a  pupil  of 
David  Loggan,  for  whom  he  drew  and  engraved 
several  architectural  views.  He  was  much  em- 
ployed in  drawing  portraits  with  black  lead  upon 
vellum,  and  in  engraving  plates  from  them.  The 
heads  of  Sir  Godfrey  Kneller  and  his  brother,  in 
Sandraart's  '  Lives  of  the  Painters,'  were  engravid 
from  drawings  by  White,  whose  portrait  Sir  Godfrey 
painted  in  return.  In  1674  he  engraved  theheiid- 
ing  to  the  first  'Oxford  Almanack,'  and  the  title- 
plate  to  the  '  History  of  Oxford  Antiquities.'  Few 
artists  have  left  more  English  portraits  than 
Robert  White.  They  are  frequently  disfigured, 
however,  by  large,  tasteless  borders.  Most  of  Ins 
plates  are  executed  with  the  graver  ;  he  scraped  a 
few  heads  in  mezzotint,  but  they  are  very  infeiijr 
to  his  other  prints.  He  made  money  in  the  course 
of  his  career,  but  was  in  poverty  at  his  death, 
which  occurred  at  Bloomsbury  in  1704.  Of  his 
numerous  portraits  (Vertue  gives  a  list  of  275),  the 
following  are  the  best : 

James  I. ;  after  C.  Jaitsse7i3. 

George,  Earl  of  Cumberland,  habited  for  a  tournament. 

Charles  I. ;  after  Van  Dyck. 

Another  of  Charles  I. ;  after  R.  T'an  Voerst. 

Prince  Rupert ;  after  Kneller. 

Charles  II. ;  after  the  same.     1679. 

Another  of  Charles  II.,  in  the  robes  of  the  Garter. 

James  II.  under  a  canopy,  with  Archbishop  Bancroft 

and  Chancellor  Jefferies. 
James  II.  when  Duke  of  York,  in  the  Garter  robes. 
Maria  Beatrix  of  Este,  his  consort ;  after  Kneller.  1688. 
Henry,  Duke  of  Gloucester.    |   Lady  Mary  Joliffe. 
Heneage,  Earl  of  Nottingham.  |  Thomas,  Duke  of  Leeds, 
Sir  Edward  AYard,  Chief  Baron.     1702. 
Chief  Justice  Treby  of  the  Common  Pleas.     1094. 
Samuel  Pepys  ;  after  Kneller. 
George,  Earl  of  Melvil ;  after  Sir  John  Medina. 
James,  Earl  of  Perth  ;  after  Kneller. 
Another  portrait  of  the  same  ;  after  Riley. 
Bishop  Burnet  :  after  Mrs.  Beale. 
Sir  Alexander  Temple.    |   Lady  Susanna  Temple. 
Lady  Anne  Clifford. 
Thomas  Flatman  ;  after  Hat/Is. 
Sur  John  Fenwick  ;  after  JVissing. 
The  Seven  Bishops ;  sever  smaU  ovals  in  one  plate. 
The  Five  Bishops  who  suffered  Martyrdom  ;   five  ovajs 

in  one  plate. 
Duke  of  Norfolk,  mezzotint ;  after  Kneller. 
John,  Earl  of  Radnor,  ditto  ;  ditto. 

WHITE,  Thomas,  engraver,  was  bom  in  London 
about  1730.  He  was  for  some  time  employed  bv 
Ryland  to  assist  in  the  backgrounds  of  his  plates. 


and  afterwards  engraved  the  greater  part  of  the 
architectural  prints  for  Wolf  and  Gandon's  con- 
tinuation of  the  '  Vitruvius  Britannicus.'  His  name 
is  also  affixed  to  a  landscape  after  Brueghel,  etched 
byT.  Saunders,  and  finished  by  White  and  Ryland. 
He  died  in  London  about  the  year  1775. 

WHITTOCK,  Nathaniel,  draughtsman  and 
lithographer,  worked  at  Oxford  and  London  during 
the  first  half  of  the  19th  century.  He  styled  him- 
self "  Teacher  of  Drawing  and  Perspective,  and 
Lithograpliist  to  the  University  of  Oxford."  Much 
of  his  best  work  is  contained  in  the  following 
books,  which  he  wrote  and  illustrated  : 

The  British  Drawing  Book.  London,  n.d. 
The  Oxford  Drawing  Book.  London,  1835. 
The  Art   of    Drawing    and    Colouring   from  Nature, 

Flowers,  Fruits  and  Shells.     London,  1829. 
A  Topographical  and  Historical  Description  of  Oxford. 

London,  1829. 
The  Microcosm  of  O.xford.     Oxford,  1830. 
The  Decorative  Painter's  and  Glazier's  Guide.   London,. 

1832. 
The  Miniature  Painter's  Manual.     London,  1844. 

WHOOD,  Isaac,  an  English  portrait  painter, 
born  in  1688.  Though  but  a  poor  artist  he  obtained 
a  good  practice,  and  was  much  patronized  by  the 
then  Duke  of  Bedford,  for  whom  he  made  many 
copies.  A  suit  in  Chancery,  which  he  had  to  defend 
in  his  later  years,  occasioned  him  much  loss.  He 
died  in  London,  February  24,  1752.  There  is  an 
edition  of  '  Hudibras '  illustrated  by  him.  Amongst 
his  portraits  are  : 

Cambridge.      Trin.  Hall.    Several  Portraits. 
Lambeth  Palace.  Archbishop  Wake.     1736. 

WobuTQ  Abbey.  Duke  of  Marlborough.    1734. 

,,  „  Hon.  John  Spencer.     1737. 

„  „  The  third  Duke  of  Bedford. 

WHYMPER,  JosiAH  Wood,  was  born  at  Ipswich 
in  1813.  He  was  self-taught,  and  came  to  London 
in  1830,  devoting  himself  to  wood-engravinir,  in 
which  he  attained  the  highest  excellence.  His 
reputation  as  a  teacher  was  equally  high,  C.  Keene, 
Fred  Walker,  and  J.  W.  North  being  among  his 
pupils.  His  engravings  eifter  Birket  Foster  show 
him  at  his  best.  He  also  painted  in  water-colour, 
becoming  a  member  of  the  Royal  Institute  of 
Painters  in  Water-Colour  in  1867.  He  died  at 
Haslemere  in  1903.  J  H  W  L 

WIBERT.     See  VniBERT. 

WICAR,  Jean  Baptists,  (or  Vicar,)  was  bom 
at  Lille  in  1762.  He  was  the  son  of  a  cabinet 
maker,  to  whom  he  was  for  a  time  apprentice,  but 
entered  the  school  of  design  in  his  native  town  in 
1773.  In  1780  he  went  to  Pans  with  a  pro- 
vision from  the  Lille  municipality,  and  studied 
painting  under  David  and  engraving  under  Le  Bas 
and  Bervio.  He  accompanied  David  to  Rome, 
and  in  1784  proceeded  to  Florence,  where  he 
made  drawings  of  the  entire  Pitti  collection,  to 
be  used  for  engraving.  In  one  year  he  produced 
four  hundred  drawings  from  paintings  and  statues, 
three  hundred  from  cameos,  and  one  hundred  and 
forty  from  busts  and  other  portraits.  Upon  his  return 
he  set  about  the  projected  engravings,  and  broutfht 
out  four  volumes  between  1789  and  1807.  In  1793, 
returning  to  the  French  capital  from  a  second 
sojourn  in  Rome,  he  became  a  member  of  the 
Conservatorium  in  Paris,  and  in  1796  was  chosen 
by  Bonaparte  to  inspect  the  art  treasures  of  Italy, 
and  to  select  those  to  be  carried  off  to  Paris. 
About  1800  he  settled  in  Rome,  and  became  well 
known  as  an  enthusiastic  collector  of  old-master 
drawings  and  sketches  and   of  models  in   wax, 

367 


A  BIOGRAPHICAL  DICTIONARY  OP 


and  also  as  a  painter  of  portraits,  producing  among 
others  tliose  of  the  Duke  and  Duchess  of  Torlonia, 
or  Murat,  and  of  Pius  VII.  In  1805  lie  became 
a  member  of  the  Roman  Academy  of  St.  Luke,  and 
a  few  years  afterwards  Director  of  that  of  Naples. 
He  died  at  Rome  in  1831,  having  bequeathed  his 
collection  of  drawings  and  works  of  art  to  liis 
birthplace,  with  a  fund  sufficient  to  send  three 
pensioners  annually  to  Rome.     Pictures : 

Joseph  interpreting  the  Dreams.     (Lille.) 
The  Concordat  between  Pius  VII.  and  Napoleon. 
The  Raising  of  the  Widow  of  Nain's  sou.     (Lille.) 
Portrait  of  Murat.     (Do.) 

„  himself.    (L>o.) 

„  M.  Lesage  Leuault.     (Do.) 

Virgil  reading  the  '  jEaeid'  before  Augustus.     (Do.) 
The  Resurrection.     (Archbishop  of  Ravenna.) 

WICHEREN,  Jan  Joekes  Gabriel  van,  Flemish 
painter,  born  March  29,  1808,  at  Leeuwarden ; 
became  a  pupil  of  W.  B.  van  der  Kooi ;  made  his 
name  as  a  painter  of  portraits.     He  died  in  1878. 

WICHERT,  Felix,  German  painter ;  born  at 
Tilsit,  May  8,  1842  ;  became  a  pupil  of  Steffeck 
and  of  Eschke  at  Berlin,  where,  after  service  in  the 
army  and  travel  abroad,  he  finally  settled.  He 
painted  an  equestrian  portrait  of  the  Emperor 
William  I. ;  other  works  by  liiin  are  '  Winterabend,' 
'  Elfenross,'  '  Pulensclianke,'  &c.  He  obtained  the 
Order  of  the  Red  Eagle.  He  died,  March  16,  1902. 
WICHMANN,  Adolph,  historical  painter,  was 
born  at  Gelle,  Hanover,  in  1820,  and  in  1838  en- 
tered the  Dresden  Acadciay,  where  he  worked  in 
Bendemann's  atelier  till  1847.  On  quitting  Dres- 
den in  1847  he  worked  in  Venice  and  Rome  till 
1851,  and  the  next  year  returned  to  Bendemanru 
He  settled  in  Dresden,  where  he  died  in  1866.  His 
best  known  pictures  are  : 

Christ  the  Comforter. 

The  Request  granted.     (Mvnickf  New  Pinal-othek.) 

The  Virgin  and  St.  Elizabeth  watching  the  sleeping 

Child  Jesus.     (Liege  Gallery.) 
Bachel  weeping  for  her  Children. 

WICHMANN,  J.,  a  German  engraver,  flourished 
about  the  year  1683.  His  name  is  affixed  to  a 
large  plate  of  the  Siege  of  Vienna.  The  portraits  of 
the  German  and  Turkish  generals  are  introduced 
at  the  top,  and  those  of  the  Emperor  of  Germany 
and  the  Sultan  at  the  bottom. 

WICHMANN,  Otto  Gottfried,  genre  painter, 
was  born  at  Berlin  in  1828,  and  was  a  pupil  of 
Robert  Fleury,  in  Paris.  After  a  stay  of  two  years 
in  that  city  he  went  to  Rome,  where  he  died  in 
1858.  His  '  Paolo  Veronese  in  Venice,'  and  '  Cathe- 
rine de'  Medici  and  the  Poisoner,'  are  in  the 
Berlin  National  Gallery. 

WICKENBERG,  Peter  Gabriel,  a  Swedish 
landscape  and  marine  painter,  bom  in  1812.  He 
settled  in  Paris  in  1837,  and  exhibited  at  the  Salon. 
He  died  of  consumption  in  1846.  There  are  by 
him : 

Amsterdam.  Fodor  Mus.     "Winter  Scene. 
Stockholm.      Nat.  Gall.    Moonlight  on  the  Dutch  coast. 
1841. 

„  „  'WinterScene  in  Holland.  1840. 

„  „  Eve  mourning  for  Abel.     1835. 

„  „  Landscape  with  Sheep. 

WICKER,  JoHANN  Heinrich,  an  engraver,  was 
bom  at  Frankfort  in  1723,  and  died  in  1786.  His 
works  were  chiefly  ornamental  borders,  coats  of 
arms,  and  vignettes  for  books  ;  he  also  engraved  a 
few  portraits  and  painted  flowers  in  water-colours. 

368 


WICKSTEAD,  Philip,  was  a  native  of  London, 
and  a  disciple  of  Zoffany.  He  distinguished  him- 
self chiefly  by  painting  small  whole-length  por- 
traits. He  was  at  work  about  1773  in  Rome, 
There  he  became  acquainted  with  Mr.  William 
Beckford,  whom  he  accompanied  to  Jamaica.  He 
practised  there  some  time  as  a  painter,  but  after- 
wards became  a  planter,  and  failed.  This  disap- 
pointment caused  him  to  take  to  drink,  and 
hastened  his  death,  which  took  place  in  1790. 

WICKSTEED,  James,  engraver,  was  born  in 
1719.  He  practised  in  London,  working  in  the 
stipple  manner,  and  died  July  11,  1791. 

WIDEMAN,  Elias,  was  a  native  of  Germany, 
and  practised  at  Augsburg.  He  was  chiefly  em- 
ployed by  the  booksellers,  for  whom  he  engraved 
a  great  number  of  portraits,  frontispieces,  and 
other  plates,  from  his  own  designs.  His  most 
important  work  is  a  set  of  portraits  of  illustrious 
personages,  published  at  Augsburg  in  1648. 

WIDGERY,  William,  landscape  painter  in 
oil  and  water-colour,  was  born  at  Uppercot,  North- 
molton,  in  1822.  He  worked  in  early  life  as  a 
mason,  but  studied  painting  in  his  leisure  hours, 
and  began  by  making  clever  copies  of  Landseer 
and  Rosa  Bonheur.  Turning  to  nature,  he  de- 
veloped his  style  entirely  witliont  instruction,  and 
portrayed  rural  scenes  and  wild  landscape  with 
boldness  and  sympathy.  He  twice  visited  Italy 
and  Switzerland,  but  soon  returned  to  the  scenery 
of  his  native  county.  He  was  particularly  happy 
in  his  delineation  of  the  coast  scenery  of  Devon 
and  Cornwall,  but  he  will  be  chiefly  remembered 
as  pre-eminently  the  painter  of  Dartmoor.  He 
worked  with  a  remarkably  free  touch,  and  his 
pictures  were  well  composed.  He  was  a  correct 
and  spirited  painter  of  animals,  and  introduced 
them  with  good  efl'ect.  A  prolitic  worker,  he  had 
painted  and  sold  over  three  thousand  pictures 
before  1883.  M.H. 

WIEGMANN,  Rodolph,  a  well-known  German 
arcliitect,  practised  occasionally  as  a  painter  in 
water-colours.  He  was  born  at  Adensen  in  Han- 
over in  1804,  and  died  in  1865.  As  a  painter  he  is 
known  by  the  following  architectural  views,  among 
others : 

The  Engelsburg.     (For  the  Duke  of  Gimbridae.)     1834. 

The  Via  Sacra.     1834. 

View  of  Rome  from  the  Loggie  of  the  Vatican.     1836. 

The  Interior  of  Bonn  Cathedral.     1842. 

Interior  of  S:m  Marco  at  Venice. 

His  widow,  Marie  Wiegmann,  ii^e  Hancke,  was 
a  successful  portrait  painter. 

WIELING,  Nicolas,  an  historical  and  portrait 
painter,  is  supposed  to  have  been  a  native  of  the 
Hague,  where  his  name  occurs  in  the  Guild  books 
for  1661,  but  the  year  of  his  birth  is  unknown.  He 
was  much  employed  by  Friedrich  Wilhelm,  the 
Elector  of  Brandenburg,  who  appointed  him  painter 
to  the  court  in  1671.  He  died  at  Berlin  in  1689. 
His  manner  is  more  Flemish  than  Dutch  ;  and 
some  of  his  pictures  have  a  touch  of  Van  Dyck. 
He  had  a  son,  Mathias,  who  was  a  scene  painter. 

WIERENGEN.     See  Wierinqen. 

WIERINQA,  Gerard,  bom  at  Groningen,  was 
the  son  and  scholar  of  his  father,  Jan  Wierinqa 
(1709 — 1780),  a  painter  of  ornaments,  and  also 
studied  under  J.  Andriessen.  He  worked  for  a 
time  in  the  Diisseldorf  Gallery,  but  in  1790  returned 
to  his  native  place,  where  he  gave  lessons  in 
drawing,  and  painted  landscapes,  chiefly  sunsets 
and  winter  scenes,  for  one  of  which  he  obtained  a 


PAINTERS  AND  ENGRAVERS. 


gold  medal  irom  the  Leyden  Academy.  He  died 
in  1817. 

WIERINGEN,  CoRNELis  Claesz,  was  born  at 
Haarlem  about  1570-80.  He  was  brought  up  to 
a  Bea  life,  and  excelled  in  painting  sea-pieces  and 
storms.  He  was  also  a  good  landscape  painter,  as 
appears  by  a  series  of  fourteen  plates  after  him 
by  Claesz  Jansz  Visscher.  He  died  in  1635.  A 
picture  by  him  of  'The  Sea  Fight  at  Gibraltar,' 
was  painted  in  1623  for  Prince  Maurice  of  Nassau, 
and  his  '  Arrival  of  Frederick,  the  Elector  Palatine, 
and  the  Princess  Elizabeth,  at  Flushing,  in  1613,'  is 
in  the  Haarlem  Museum.  He  also  etched  several 
landscapes  and  sea-views.  His  son  Nicolaas,  also 
a  marine  painter,  was  registered  in  the  Haarlem 
Guild  in  1636. 

WIBRIX,  the  brothers  Anthonie,  Hieronymus, 
and  Jan,  engravers,  who  flourished  at  Antwerp 
from  about  1562  to  1618,  are  generally  said  to  have 
been  natives  of  Amsterdam,  but  M.  Louis  Alvin,  the 
chief  authority  on  the  subject,  asserts  that  they 
were  bom  at  Antwerp.  As  a  rule  Hieronymus  is 
considered  the  ablest  of  the  three,  but  it  is  likely 
that  many  of  Jan's  prints  are  ascribed  to  him,  and 
vice  versd,  in  consequence  of  the  identity  of  their 
monograms.  For  an  exhaustive  account  of  their 
work,  the  student  is  referred  to  M.  Alvin's  'Cata- 
logue Raisonn^  de  I'CEuvre  des  Trois  Freres,  Jean, 
J6rome,  et  Antoiue  Wierix  ' — Bruxelles,  1866.  M. 
Alvin  gives  a  list  of  two  thousand  prints  bytliem. 
Only  the  most  important  are  mentioned  in  the  fol- 
lowing articles. 

WIERIX,  Anthonie,  (Wierx,  or  Wierinx,)  de- 
signer and  engraver,  the  youngest  of  the  family  of 
the  Wierixes,  was  born  at  Antwerp  or  Amsterdam 
about  1555.  His  small  plates  are  executed  in  the 
finished  style  of  his  brothers,  but  his  larger  prints 
exhibit  more  freedom  and  facility.  He  engraved 
subjects  similar  to  theirs,  and  frequently  worked 
in  conjunction  with  them.  His  prints  are  usually 
signed  with  his  name.  The  following  are  perhaps 
the  best : 

Pope  Clement  VIII. ;  Jnt.  Wierix.    |   Philip  II. 

Wilhelm,  Elector  Palatine.    |    Archihike  Ernst. 

Philippe  Emanuel  de  Lorraine,  Due  de  Mercceur. 

Margaret,  Queen  of  Philip  III.  of  Spain. 

Cardinal  Eellarmiu. 

Albert  of  Austria,  Archbishop  of  Toledo  and  Governor 

of  the  Low  Countries. 
St.  Sebastian.     (Ant.  Wiercx  fee.     Hier.  Wiercx  inv.) 
St.  Theresa.     {From  his  own  design.) 
St.  Dominick  receiving  the  Eosary  from  the  Virgin  (So.) 
The  Marriage  of  St.  Catharine.     {Do.) 
The  Entombment.     {Do.) 

St.  Jerome  praying,  witli  Angels  ;  dated  1584.     {Do.) 
Su.sanuah  and  the  Elders.     {Do.) 
Virgin  and  Child,  in  a  landscape.     {Do.) 
Virgin  and  Child,  in  a  Heart.     {Do.) 
The  Eepentant  Magdalene.     {Do.) 
Tlie  Adoration  of  the  Magi ;  after  M.  de  Vos. 
The  Crucifiiion  ;  very  fine  ;  afttr  the  same. 
The  History  of  the  Prophet  Jonah  ;  in   four  plates ; 

after  the  same. 
A  Riposo  ;  after  Cam.  Procaccini. 
The  Death  of  S.  Francis  ;  after  the  same. 
Christ  between  SS.  Peter  and  Paul  ;  after  Sprangher. 
Death  of  the  Virgin  ;  after  Otto  van  Veen. 
A  series  of  sixty-nine  plates  from  the  Life  and  Passion 

of  Christ,  with  the  Death  and  Assumption  of  the 

Virgin  ;  in  these  he  was  assisted  by  his  two  brothers. 

WIERIX,  HiERONTMns,  (or  Wierinx,)  was  born 
at  Antwerp  or  Amsterdam  in  1551.  Died  in  1619. 
He  is  supposed  to  have  learned  the  art  of  engrav- 
ing from  his  brother  Jan,  whose  style  he  followed 
80  exactly,  that  it  is  difficult  to  distinguish  their 
VOL  V.  B  B 


works.  His  prints  are  more  numerous  than  those 
of  Jan  Wierix,  and  chiefly  consist  of  devout  and 
allegorical  subjects,  saints,  and  fathers  of  the 
church,  many  of  them  from  his  own  designs. 
They  are  sometimes  marked  with  his  initials  thus, 
HI.  W.,  or  HI.  W.  F.,  or  J.  Hieronimus  W.  Fe.; 
sometimes  with  a  monogram  composed  of  an  H,  an 
I,  and  an  E,  joined  together  and  followed  by  a  W, 

thus,  jJj^"^.      The    following    are    his    chief 

plates : 

The  Emperor  Charles  V. 

Henri  de  Bourbon,  King  of  Navarre. 

Queen  Elizabeth.    |    Philip  II.  of  Spain. 

William  the  Silent. 

Sigismund  III.,  King  of  Poland. 

Ludwig,  King  of  Hungary. 

Isabella  Clara  Eugenia,  Infanta  of  Spain. 

Archduke  Albert.    |    Ignatius  Loyola. 

Alessandro  Farnese,  Duke  of  Parma. 

Sir  Francis  Drake. 

Henriette  d'Estragues,  Marquise  de  Verueuil.     1600. 

St.  Cecilia.     {From  his  otcn  design.) 

The  Temptation  of  St.  Anthony.     (Do.) 

St.  Bnmo,  the  founder  of  the  Carthusians.     (Do.) 

S.  Carlo  Eorromeo.     {Do.) 

The  Holy  Family  beneath  a  Tree.     (Do.) 

The  Virgin  upon  the  Crescent.     {Do.) 

The  Crucifixion.     {Do.) 

The  Death  of  Lucretia.     {Do.) 

A  Pieta  ;  after  J.  Mahuse. 

Christ  blessing  little  Children  ;  after  C.  van  den  Broeck. 

The  Genealogy  of  Christ ;  after  Bol. 

The  Virgin  with  the  Crown  ;  after  J.  van  Eyck. 

The  Death  of  the  Virgin  ;  after  Stradanus. 

Christ  at  Table,  in  the  house  of  Simon  the  Pharisee ; 
after  0.  van  Veen. 

The  Entombment ;  after  the  same. 

Christ  crowned  with  Thorns  ;  after  G.  Mostuert. 

The  Scourging  of  Christ;  after  the  same;  very  fine. 

The  Baptism  of  Christ  by  St.  John ;  after  E.  Hondtus. 

The  Charge  to  Peter  ;  after  M.  de  Vos. 

Tlie  Passion  ;  after  the  same. 

The  Triumph  of  Truth  ;  after  the  same. 

The  Vision  of  Daniel;  after  Verhaegt. 

Jupiter  and  Danae ;  after  the  same. 

Christ  expiring  on  the  Cross;  after  P.  Aquila,  con- 
sidered his  master-piece. 

The  Doctors  of  the  Church ;  after  Ph.  Galle. 

WIEKIX,  Jan,  (Wierx,  or  Wierinx,)  draughts- 
man and  engraver,  was  born  at  Antwerp  or  Am- 
sterdam in  1649.  It  is  not  known  by  whom  he 
was  instructed,  but  he  appears  to  have  formed  his 
style  by  an  attentive  study  of  the  works  of  Albrecht 
DiJrer,  and  has  copied  several  of  the  prints  of  that 
master  with  a  precision  bordering  on  servility. 
The  date  of  his  death  is  unknown.  M.  Alvin  says 
he  is  the  truest  artist  of  the  three  ;  that  he  has 
most  originality  and  most  style,  although  both 
Jerome  and  Anthonie  excel  him  in  silky  softness 
and  polish.  His  plates  are  executed  with  the 
graver,  in  a  very  neat,  finished  style,  and  his 
drawing  is  remarkably  correct.  He  usually  signed 
his  work  with  the  initials  /.  W.  F.,  sometimes  he 
used  /.  H.  W,  F.,  to  whicli  he  occasionally  added 
his  age,  and  the  date  of  the  year  in  which  the 
plate  was  engraved.  The  following  are  among  his 
best  works  : 

Rodolphus  II.,  Emperor  of  Germany. 
Philipp  Willem,  Prince  of  Orange. 
Eleanore  de  Bourbon,  Princess  of  Orange. 
James  I.,  King  of  England,  and  his  Queen  ;  scarce. 
Philip  II.  of  Spain. 
Ma.ie  de'  Medicis,  Queen  of  France. 
Henry  IV.,  King  of  France. 

The  Marquise  de  Vernenil  {after  F.  Clouety  probably  a 
copy  from  Hieronymus'  larger  plate). 

369 


A   BIOGRAPHICAL  DICTIONARY  OF 


The  Virgin  enthroned.  | 

Tlie  Besurrection  ;  inscribed  Insanus  Miles,  etc.    (From 

his  own  design.) 
Mary  Magdalene  seated  at  the  Entrance  of  a  Grotto  i 

/.  TVier  ijiv.  et  fee.     (Do. ) 
An  allegory,  the  Redemption  of  Mankind.     (Do.) 
Orpheus  charming  the  Beasts.     (Do.) 
The  Four  Elements ;    Jfierix.     1601.     (Do.) 
The   little   Satyr;  copied  from  Albrecht  Barer,  when 

"Wierix  was  only  twelve  years  of  age. 
Adam  receiving  the  forbidden  fruit  from   Eve;    also 

copied  from  Durer  ;  upon  a  tablet  is  inscribed  Albert 

Diirer  inventor,  Johanes  H'icrix  fee.  at.  16. 
St.  Jerome  in  meditation  ;  copied  from  Alhrecht  Diirer, 
Melancholy  ;  signed  Johan  Wiricx  Fecit  an.  1602. 
The  Christian  Virtues  giving  Oil  to  the  Wise  Vu-gins  ; 

after  Gilles  Coignet. 
The  Marriage  of  St.  Catharine ;    after  D.  Calvaert. 
Abraham's  Sacrifice  ;  after  M.  de  Vos. 
The  Death  of  Moses  ;  aftej'the  same. 
Descent  from  the  Cross  ;  after  O.  van  Veen. 
The  Last  Judgment ;  copied  from  Martin  Ratals  print 

after  Michelanijelo. 
Descent  from  the  Cross ;  after  Bern.  Fassari, 

WIERTZ,  Antoine  Joseph,  was  born  at  Dinant, 
February  22nd,  1806,  but  at  the  age  of  fourteen 
came  to  Antwerp,  and  studied  under  Ilerreyns  and 
Van  Bree.  In  1832  he  gained  the  Roman  pension, 
and  spent  some  time  in  Italy,  where  he  painted  the 
portrait  of  Laetitia  Bonaparte,  and  the  best  of  liis 
historical  pictures,  the  '  Fight  for  the  Body  of 
Patroclus.'  Wiertz  was  an  artist  whose  technical 
powers  were  unequal  to  the  rendering  of  his  un- 
doubtedly large  and  noble  conceptions.  He  aspired 
to  combine  the  qualities  of  Homer,  Michelangelo, 
and  Rubens,  and,  as  might  have  been  expected,  the 
outcome  was  an  extravagance,  at  first  merely  fan- 
tastic, but  later  gloomy,  morbid,  and  devoid  of  all 
testhetic  instinct.  Yet  for  a  time  the  prestige  he 
enjoyed  was  extraordinary.  An  atelier  was  built 
for  him  at  Brussels  at  the  government  expense, 
where  he  carried  on  his  experiments  in  the  use  of 
painting  mediums.  He  succeeded  in  inventing  a 
process  he  called  "  matt-painting,"  the  merit  of 
which  was  that  it  obviated  the  occurrence  of  reflec- 
tions on  a  painted  canvas.  He  accepted  commis- 
sions only  for  portraits,  refusing  to  make  his 
imaginative  creations  a  means  of  livelihood.  In 
this,  as  in  other  points,  there  was  some  affinity 
between  the  Belgian  master  and  the  English  poet- 
painter,  William  Blake.  At  Wiertz's  death  in 
Brussels,  June  18th,  18G5,  tlie  house  in  which  he 
bad  lived  in  that  city,  built  to  imitate  a  ruined 
temple,  was  converted  into  a  museum,  in  which  a 
large  number  of  his  works  are  now  preserved,  and 
which  is  known  as  the  Musee  Wiertz.  Among 
the  most  famous  pictures  of  the  collection  are  the 
•Trimnph  of  _  Christ'  (1848),  'Napoleon  in  Hell,' 
'  The  Suicide.'  Towards  the  end  of  his  career  he 
made  some  essays  iu  sculpture,  which  he  had 
studied  in  his  youth.  F  s 

WIEHZ.     See  Wierix. 

WIESCHEBRINK,  Franz,  German  painter, 
born  in  1818  at  Burgsteinfurt  (Munster) ;  studied 
at  the  Dusseldorf  Academy,  and  afterwards,  for 
two  years,  in  Paris.  He  first  painted  religious 
and  historical  subjects,  such  as  '  Tobias  and  tlie 
Angel,'  but  afterwards  devoted  himself  to  genre 
scenes,  of  which  we  have  examples  in  '  Naschende 
Kinder,'  '  Vaterfreuden,'  &c.  He  died  at  Dtissel- 
dorf,  December  10th,  1884. 

WIESCHEBRINK,  Heinrich,  German  painter, 

bom  October  25th,  1852,  at  Dtisseldorf  ;   son  of 

Franz  Wieschebrink  ;  became  a  pupil  of  J.  Roting 

at  the  Dtisseldorf  Academy  ;  appointed  professor 

370 


at  the  Cassel  Academy  ;  painted  genre  pictures, 
such  as  '  Der  Haus  Onkel,'  '  Ave  Maria,'  &c.,  all 
more  or  less  undistinguished.  He  died  at  Cassel, 
September  29th,  1885. 

WIESSNER,  KoNRAD,  painter  ana  engraver,  was 
bom  at  Nuremberg,  Juno  1st,  1796.  He  first 
practised  as  a  topographical  draughtsman,  but  in 
1811  began  to  attend  the  Nuremberg  Academy, 
and  at  the  same  time  to  study  engraving  under 
A.  Gabler.  He  afterwards  visited  Munich,  and 
travelled  in  the  Bavarian  Highlands,  making 
studies  from  nature.  On  his  return  to  Nuremberg, 
he  took  a  prominent  part  in  founding  the  Albrecht 
Diirer- Verein,  of  which  he  became  director.  Until 
1826  he  was  busily  engaged  at  Nuremberg  in  the 
production  of  engravings,  lithographs,  and  draw- 
ings, but  in  tliat  year  he  removed  to  Ratisbon,  to 
superintend  the  painting  in  the  porcelain  factory. 
In  1827  he  was  .again  at  Nuremberg,  and  thence- 
forth was  much  occupied  as  a  teacher  at  various 
institutes,  combining  with  such  labours  his  work 
as  a  creative  artist, 

WIGAN  Isaac,  a  Flemish  painter  of  subjects 
known  as  '  Desserts  '  (tables  set  with  fruit,  cheese, 
oysters,  etc.).  He  was  probably  a  pupil  of  Jan 
van  Es,  was  born  in  1616,  and  died  in  1G62-3. 

WI6MANA,  Gerard,  was  born  at  Workum,  in 
Friesland,  in  1673.  He  went  to  Italy  when  young, 
and  is  said  to  have  studied  Raphael  and  Giulio 
Romano.  On  his  return  to  Holland  he  took  to 
painting  subjects  of  a  cabinet  size,  which  he  dis- 
figured by  exaggerated  expression,  and  inattention 
to  propriety  of  costume.  He  had  the  vanity  to 
call  himself  'the  Raphael  of  Friesland.'  Disap- 
pointed at  the  unfavourable  reception  his  works 
met  with  in  his  own  country,  it  is  said  by  Descamps 
that  he  visited  England,  where  he  met  with  no 
better  success.  He  returned  to  Holland,  and  settled 
at  Amsterdam,  where  he  died  in  1741. 

WIJCK,  Jan,  (called  in  England  John  Wyck  or 
Wyke,)  the  son  of  Thomas  Wijck,  was  born  at 
Haarlem  about  the  year  1640,  and  was  instructed 
by  his  father,  whom  he  accompanied  to  England. 
Jan  Wijck  distinguished  himself  as  a  painter  of 
battles,  sieges,  huntings,  and  processions.  He 
sometimes  painted  large  pictures,  such  as  the 
'  Battle  of  the  Boyne,'  and  the  '  Sieges  of  Naar- 
den  and  Namur,'  but  they  are  inferior  to  his  small 
pictures.  In  the  equestrian  portrait  of  the  '  Duke 
of  Scliomberg,'  by  Kneller,  the  horse  and  the  battle 
in  the  background  were  finely  painted  by  Jan 
Wijck.  He  painted  several  views  in  Scotland, 
etched  a  plate  called  'The  Siege,'  and  also  made 
designs  for  a  book  on  himting  and  hawking.  He 
died  .at  Mortlake  in  1702. 

WIJCK,  Thomas,  (Wyck,  or  Van  Wyck,)  was 
bom  ,at  Beverwyck  about  1616.  He  was  a  pupil 
of  his  father,  and  improved  himself  by  a  resi- 
dence in  Italy,  particularly  in  the  environs  of 
Naple8,.whcre  he  executed  many  sketches  which  be 
subsequently  worked  up  into  drawings  of  coast 
views.  He  excelled  in  painting  shipping  and  sea- 
ports, with  small  figures,  very  frequently  odd 
characters,  such  as  quacks,  alchemists,  and  misers, 
in  a  style  resembling  that  of  Peter  van  Laar.  He 
also  painted  fairs,  public  markets,  and  the  interiors 
of  chemists'  laboratories.  In  1660  he  was  appointed 
Dean  of  the  Guild  at  Haarlem.  He  came  to  Eng- 
land about  the  time  of  the  Restoration,  and  was 
much  employed.  He  painted  a  View  of  London  be- 
fore the  fire,  and  another  of  the  north  bank  of  the 
Thames,  from  Southwark,  exhibiting  the  mansions 


ANTOINE  JOSEPH  WIERTZ 


[11- 


iii.it.'/y,  Brussels 


THE  MOTHER  OF  THE  ARTIST 


PAINTERS  AND  ENGRAVERS. 


of  the  nobility  in  the  Strand  ;  of  these  there  are 
prints.  He  also  painted  the  '  Fire  of  London ' 
more  than  once.  He  died  at  Haarlem  in  August 
1677.  We  have  twenty-one  scarce  etchings  hy 
Thomas  Wijck  of  landscapes  and  figures  ;  the 
best  known  of  them  is  '  The  Open  Cofft-r.'  His 
pictures  are  to  be  met  with  in  numerous  European 
galleries.     The  following  may  be  mentioned  : 

Amsterdam.  Bijks  Museum.  Kustic  Interior. 

yi  „  An  Alchemist. 

Haarlem.  Museum.  Ruins  of  a  Roman  Temple. 

Rotterdam.  Museum.  Woman  with  Children. 

WIJCKERSLOOT,  John  van,  a  Dutch  painter 
of  the  17tli  century,  supposed,  from  the  extreme 
rarity  of  his  works,  to  have  painted  as  an  amateur. 
He  may  be  identical  with  one  Johannes  Wijcker- 
sloot,  a  clergyman  at  Weesep,  near  Dordrecht,  in 
1651.  His  few  known  cabinet  pictures  are  care- 
fully executed  in  the  manner  of  Teniers.  In  1658 
he  was  one  of  the  officers  of  the  College  of  Painters 
at  Utrecht,  and  Dean  in  1670.  The  Berlin  Museum 
has  a  portrait  of  a  young  lady  by  him. 


Utrecht. 


M.  Th.  van  )  Portrait     of 
lingen.  /      {signed). 


Everdin 


Priest.      1683 
W.  }I.  J.  \V. 


WIJELANT.     See  Vrelandt. 

WIJNANTS,  Jan,  one  of  the  founders  of  the 
great  Dutch  school  of  landscape  painting,  was  born 
at  Haarlem,  probably  about  1615.  Details  con- 
cerning him  are  of  the  very  scantiest,  and  no 
additional  light  has  been  thrown  on  his  career  by 
modem  researches.  Tradition  asserts  him  to  have 
been  the  master  of  Philips  Wouwerman,  and  of 
Adriaen  van  de  Velde.  His  earliest  known  pictures 
are  dated  1641  and  1642.  In  the  records  of  the 
Guild  of  St.  Luke  at  Haarlem,  one  Jan  Wijiiants, 
probably  the  painter,  is  mentioned  as  a  dealer  in 
works  of  art,  and  the  marriage  registers  of  Haar- 
lem show  that  in  1646  one  Jan  Wijnants,  widower, 
married  Luytgen  van  den  Ende,  a  native  of  Goch, 
but  there  is  no  evidence  by  which  we  can  identify 
the  master  with  the  contracting  party.  It  seems, 
however,  that  Wijnants  worked  at  Hairlem,  and 
from  1665  onwards  at  Amsterdam.  A  picture  by 
him  in  the  Hermitage  at  St.  Petersburg  is  dated  so 
late  as  1679.  It  is  assumed  that  ho  died  at  Am- 
sterdam. Wijnants  is  well  represented  in  most  of 
the  leading  European  galleries,  yet  his  works  are 
not  numerous,  when  we  take  into  account  his  long 
career  as  a  painter.  Smith  catalogues  two  hundred 
and  fourteen.  Their  comparative  scarcity,  how- 
ever, is  explained  by  the  extreme  care  and  finish  of 
their  technique.  In  the  rendering  of  natural  phe- 
nomena, Wijnants  was  a  master  of  the  first  rank, 
but  he  never  succeeded  well  with  human  figures 
or  animals,  and  was  obliged  to  rely  upon  the  aid 
of  his  contemporaries,  Lingelbach,  Adriaen  van  de 
Velde,  Ph.  Wouwerman,  Helt-Stokade,  and  others, 
for  the  etouffaije  of  his  landscapes.  It  is  probable 
that  many  works  ascribed  to  him  are  by  Jan 
Wouwerman.     Pictures  by  him  : 

Amsterdam,  R.  Museum.    Landscape,  with  hunters.  (The 
figures  by  Adr.  v.  de  Velde.) 
„  „  The  Farm. 

„  „  Hilly  Landscape. 

{And  Jive  others.) 
Antwerp.  3[useum.     Two  Landscapes,  with  figures 

by  Adr.  v.  de  Velde. 
Berlin.  Museum.     Landscape  —  a    harvest    field, 

with   figures   by   Adr,  v.  de 
Velde. 
Brussels.  Museum.    Four  Landscapes, 

B  B  2 


Dresden. 


Dulwich. 

Edinburgh. 

Glasgow, 
Hague, 


London, 


Copenhagen,       Gallery.     Landscape,    with    a    hunting- 
party     painted     by    Philips 
"Wouwerman. 
Gallery.     Landscape,    with     a     Woman 
driving  an  Ass, 
„  Small   Landscape,  with   shep- 

herds and  sheep. 
Gallery,     Two     Landscapes,    companion 
pictures. 
Kat.  Gall.     Landscape,  with  figures  by  Jan 
Lingflbach, 
Gallery.     Two  Landscipes, 
Museuvi.     Borders  of  a  Forest,  with  figures 
by  Helt  Stokade  (?). 
„  A  Road  on  the  Dunes. 

Nat.  Gallery.     Landscape  with  figures. 
„  „  Landscape,  with   man  fishing, 

and  female  bathers, 
„  „  Landscape  with  Sportsman, 

„  „  Two  other  Landscapes, 

Munich,  Pinacothek.     Bight  Landscapes  with  figures. 

Paris,  Louvre.     Three   Landscapes,  one   dated 

1668. 
Petersburg,     Hermitage.    An  Italian  Landscape.     1679, 
n  „  A  Landscape  with  a  hunting 

party, 

{And.  seven  others  ) 
Vienna.  Gallery,     Two  Landscapes, 

WIJNEN,  DoMiNicDs  VAN,  (called  Ascanius,) 
was  born  at  Amsterdam  in  1661,  and  studied  in  the 
school  of  the  Hague  painter  Doudyns,  after  which 
he  went  through  Germany  to  Rome,  and  spent 
several  years  there  copying.  His  original  paint- 
ings are  of  a  jocose  nature.  He  was  unfit  to  deal 
with  money,  and  became  dependent  on  Bonaventura 
van  Overbeck,  for  whom  he  painted  comic  scenes 
and  the  burlesque  ceremonies  elaborated  by  the 
Flemish  painters  in  Rome,  He  died  at  Amsterdam 
at  some  date  unknown. 

WIJNGAERDE,     See  Van  den  Wijnoaerde, 

WIJNTRACK,  D,,  (or  Wijntranck,)  a  Dutch 
painter,  lived  at  Drenthe  in  the  17th  century,  and 
wa.s  noted  for  his  painting  of  water-fowl.  He 
enriched  the  pictures  of  Wijnants,  Ruysdael,  and 
other  painters  with  \vild  ducks  and  other  aquatic 
birds.  His  own  landscapes  represent  marshy 
grounds  with  pools  backed  by  alders  and  willows, 
serving  merely  as  backgrounds  for  their  feathered 
population.  The  birds  are  full  of  life  and  activity, 
their  plumage  soft  and  flexible,  and  their  colouring 
true.  Pictures  painted  entirely  by  himself  are  rare. 
Nothing  of  his  history  is  recorded.  A  landscape 
by  Hobbema,  dated  1667,  in  the  National  Gallery, 
contains  ducks  of  Wijntrack's  painting.  There 
are  two  pictures  by  Wijntrack  in  the  Hermitage, 

St,  Petei   ■  '  

Louvre, 

WIJTMAN,  Matheds,  was  born  at  Gorcum  in 
1650,  and  studied  for  some  time  under  Hendrik 
Verschnringh.  His  first  pursuit  was  landscape 
painting ;  but  he  afterwards  became  a  scholar  of 
Jan  Bijlaert,  and  applied  liimself  to  painting  con- 
versations, and  domestic  subjects,  in  which  he 
imitated  the  style  of  Caspar  Netscher  witli  suc- 
cess. He  also  painted  flowers  and  fruit,  and  liis 
pictures  of  that  description  possessed  great  merit. 
He  enjoyed  a  considerable  reputation  at  his  death, 
in  1689.  The  Dresden  Gallery  has  a  picture  by 
liim  of  a  young  girl  turning  over  the  leaves  of  a 
music-book. 

WILARS,     See  Villard, 

WILBAUT,  Jacques,  painter,  born  at  Chateau 
Porcien  in  1729,  was  the  nephew  and  pupil  of 
Nicolas  Wilbaut,  He  painted  portraits  and  his- 
torical subjects,  and  many  pictures  for  churches 
and  monasteries.     Most  of  his  works  perished  in 

371 


A  BIOGRAPHICAL  DICTIONARY  OF 


the  French  Revolution;  but  in  the  Museum  of 
Rheims  and  tlie  parish  churcli  of  Rethel  there  are 
pictures  by  him.  He  died  in  his  native  town,  June 
18,  1816. 

WILBAUT,  Nicolas,  painter,  born  at  Chateau 
Porcien  (Ardennes)  in  1686,  was  a  pupil  of  Jean 
Jouvenet.  He  worked  much  as  a  decorative  painter 
for  the  religious  houses  of  Champagne,  Lorraine, 
and  Picardy,  and  was  employed  for  seven  years  by 
the  Elector  Frederick  Augustus  at  Dresden,  where 
he  painted  many  portraits  of  distinguished  persons. 
He  also  worked  for  a  time  at  Leipsic.  He  died  in 
his  native  town.  May  4,  1763. 

WILBER&r,  Christian  Johannes,  German 
painter  and  etcher  ;  born  at  Havelberg,  November 
20, 1839  ;  was  a  pupil  of  Pape,  Weber  and  Gropius 
at  Berlin,  and  he  studied  at  Diisseldorf  with  Oswald 
Achenbach  ;  travelled  in  Italy  and  Sicily,  where 
he  found  an  infinity  of  subjects  for  his  talent.  He 
was  planning  the  completion  of  a  large  panorama 
of  the  Battle  of  Sedan,  when  he  died  suddenly  in 
Paris,  June  3,  1882. 

WILBORN,  Nicolas  (incorrectly  called  Wei,- 
rronnek).  The  real  name  of  this  engraver  is 
Nicolas  Wilborn  ;  it  was  Professor  Christ  who 
turned  liim  into  Welbronner.  He  is  stated  by 
BrulHot  to  have  produced  eighteen  etchings  marked 
with  the  letters  N.  NW.  and  fourteen  more,  one  of 
which  has  his  name  in  full,  Nicolas  Wilborn,  and 
the  date  1536.     We  may  name  : 

Adam  ;  a  small  upright  plate ;  dated  1534. 

Eve,  with  the  Serpent. 

A  Portrait  of  Bernard  KnippcrdoUing,  the  chief  of  the 

Anabaptists  of  Miinstcr,  dated  1536  ;  copied  from  a 

print  by  H.  Aldeyrever. 
Victory    and    Fame ;    copy    from    the   Master    of   the 

Caduceus. 
A  Sacrifice  to  Priapus  ;  copy  with  variations,  from  the 

same. 
A  Triton  making  love  to  a  Siren  ;  copy  in  reverse/roci 

the  same. 
A  winged  Horse. 
A  Frieze,  with  the  Triumph  of  Paris  and  Helen  ;  dated 

1535. 
Saturn  in  a  Car  drawn  by  a  Frog  and  a  Dragon,  and 

other  symbols. 
Infants  amusing  themselves  with  warlike  sports,  on  a 

frieze;  dated  1533. 

WILD,  Charles,  an  English  architectural 
painter  in  water-colours,  born  in  London  in  1781. 
He  was  articled  to  T.  Malton,  the  writer  on  per- 
spective, and  in  his  early  years  worked  as  an  archi- 
tectural draughtsman.  His  drawings  occasionally 
appeared  at  the  Royal  Academy  between  1803  to 
1820,  and  upon  one  occasion  at  the  British  Insti- 
tution. But  he  chiefly  exliibited  at  the  Water- 
Colour  Society,  which  he  joined  as  an  Associate  in 
1809.  He  seceded  on  the  introduction  of  oil 
paintings,  but  was  re-elected  in  1820,  and  after- 
wards became  Secretary  and  Treasurer  of  the 
Society.  In  1807  he  commenced  the  publication 
of  a  series  of  illustrations  from  the  English 
cathedrals.  In  that  year  appeared  drawings  of 
Canterbury  ;  in  1809,  of  York  ;  in  1813,  of  Chester 
and  Lichfield ;  in  1819,  of  Lincoln  ;  and  in  1823, 
of  Worcester.  During  this  period  he  also  produced 
some  of  the  drawings  for  Pyne's  '  Royal  Resi- 
dences.' The  close  of  the  Napoleonic  wars  opened 
up  fresh  fields  for  his  pencil,  and  from  1821  on- 
wards he  exhibited  many  drawings  from  France, 
Belgium,  and  Germany,  publishing  works,  also, 
based  upon  them.  In  his  latter  years  he  gradually 
lost  his  sight,  perhaps  through  straining  his  eyes 

372 


while  sketching  the  roof  of  Hanry  VII.'s  chapel  at 
Westminster,  in  a  glare  of  light.  He  died  in 
London  August  4,  1835.  Wild  was  thoroughly 
imbued  with  the  spirit  of  Gothic  architecture. 
His  details  are  correctly  drawn,  and  the  pictorial 
adjuncts  of  his  works  are  in  good  taste  and  keep- 
ing. There  is  a  larg'3  collection  of  his  drawings 
in  the  South  Kensington  Museum. 

WILDE.     See  De  Wilde. 

WILDENS,  Jan,  was  bom  at  Antwerp  in  1580, 
and  was  in  1591  a  pupil  of  Pieter  Verhulst,  but 
was  largely  indebted  for  his  progress  to  his  own 
diligent  studies  from  nature.  In  1604  he  was 
received  a  Master  of  the  Guild  of  St,  Luke.  His 
talents  attracted  the  attention  of  Rubens,  who 
employed  him  to  paint  backgrounds,  clouds,  and 
trees  in  his  pictures.  He  frequently  did  as  much 
for  Snyders,  Diepenbeeck,  and  Johann  von  Bock- 
horst.  He  produced  landscapes  of  his  own  also, 
several  of  which  are  in  public  buildings  at  Ant- 
werp. Other  pictures  by  liim  are,  a  '  Winter  Land- 
scape,' at  Dresden  ;  a  '  Stag  Hunt '  and  '  Heron 
Hawking'  at  Nuremberg  ;  '  Skaters,'  in  the  Venice 
Academy;  a  'Landscape'  in  Lord  Bute's  Collec- 
tion (an  important  example);  and  others  at  Augs- 
burg and  Madrid.  He  died  at  Antwerp  in  1653. 
His  portrait  by  Van  Dyck  was  engraved  by  P. 
Pontius.  Hollar,  Hondius,  Malham,  and  Nolpe 
have  engraved  after  him.  Zani  and  Brulliot  say 
that  he  was  an  engraver  as  well  as  a  painter, 
and  the  latter  attributes  to  him  several  views  of 
chateaux  in  Holland,  which  are  marked,  J.  W. 
fecit.  Rubbertus  de  baudous  excudit  Amstelodami, 
1616.  His  son,  Jeremias,  horn  in  1621,  was  also 
a  painter.     He  died  a  few  weeks  after  his  father. 

WILDER,  Georq  Christian,  designer  and  en- 
graver, was  bom  at  Nuremberg  in  1797.  He 
studied  drawing  under  Zwinger,  and  engraved 
under  Gabler,  and  in  1819  went  to  Vienna,  where 
he  spent  more  than  twelve  years,  drawing  and 
etching  architectural  objects  in  the  neighbourhood. 
He  afterwards  travelled  in  Western  Germany, 
sketching  the  buildings  of  Nuremberg  and  Ratisbon 
in  the  same  manner.  He  died  at  the  former  city 
in  1855.  His  brother,  Johann  Christoph  Jacob 
Wilder,  (born  1783,  ditd  1838,)  was  also  a 
draughtsman  and  etcher.  He  has  left  a  number 
of  landscape  plates  from  his  own  design  or  after 
Klein,  F.  Kobell,  Schallhas,  and  others. 

WILEBORTS.     See  Willeborts. 

WILHELM,  Heinrich,  German  genre  painter, 
was  born  at  Xanten.  Heworsed  much  in  Dussel- 
dorf,  where  he  died  at  an  advanced  age  in  1902. 
He  chiefly  painted  domestic  subjects,  and  was 
esteemed  for  his  rendering  of  children.  Careful 
finish  marked  his  work,  much  of  which  is  in 
America. 

.    WILHELM  voN  KOLN  (or  Meister  Wilhelm). 
See  Koln. 

WILKES,  Benjamin,  painter  and  engraver, 
was  born  towards  the  close  of  the  17tb  century. 
Shortly  after  1700  he  engraved  twelve  plates  for 
'  Bowles's  New  Collection  of  English  Moths  and 
Butterflies.'  In  1749  he  published  'The  English 
Moths  and  Butterflies,'  containing  a  hundred  and 
twenty  plates  engraved  and  beautifully  coloured  by 
himself.  In  the  preface  to  the  latter  work  he  speaks 
of  "the  painting  of  history  pieces  and  portraits  in 
oyl  being  the  profession  of  the  author  of  this 
work."  .\[.  H. 

WILKIE,  Sir  David,  was  born  at  Cults,  in  Fife- 
shire,  on   November    18,    1785.     His   father,   the 


SIR  DA\'ID  WILKIE 


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THE  LETTER  OF  INTRODUCTION 
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PAINTERS  AND  ENGRAVERS. 


Rev.  David  Wilkie,  was  the  minister  of  the 
parish,  and  his  mother,  Isabella  Lister,  the  daughter 
of  a  farmer  at  Pitlessie.  The  Wilkie  family  came 
originally  from  Midlothian,  where,  at  Ratho  Byres, 
a  small  property  had  been  in  their  possession  for 
some  four  centuries.  Isabella  Lister  was  the  min- 
ister's third  wife,  and  David  her  third  son.  As 
soon  as  he  could  crawl  he  began  to  evince  a  bent 
towards  art.  He  could  draw  after  a  fashion  before 
he  could  read  or  even  talk  distinctly.  At  his  tirst 
school,  the  village  school  of  Pitlessie,  he  used  to 
make  portraits  of  his  companions,  for  which  they 
had  to  pay  with  marbles,  pencils,  &c.  At  the  age 
of  fourteen  he  was  sent  to  Edinburgh,  to  the 
Trustees'  Academy,  into  which  at  first  he  had  some 
difiSoulty  in  winning  admission.  Before  the  end 
of  his  course,  however,  he  won  a  prize  of  ten  pounds 
for  a  sketch  of  'Diana  and  Calisto.'  In  1804  he 
returned  to  Cults,  and  began  work  upon  his  '  Pit- 
lessie Fair,'  for  which  he  found  plenty  of  material 
among  the  natives  of  the  district.  It  is  an  extra- 
ordinary production  for  a  lad  of  eighteen.  In  this 
same  year  Wilkie  painted  many  portraits,  the  pro- 
ceeds of  which  enabled  him  to  make  his  way  to 
London.  He  arrived  in  May,  1805,  took  lodgings 
at  8,  Norton  Street,  Purtlund  Koad,  and  a  few 
months  afterwards  he  was  at  work  in  the  schools 
of  the  Royal  Academy.  Before  he  left  Scotland 
he  had  painted  a  small  picture  called  '  The  Village 
Recruit.'  This  and  a  few  studies  brought  in  the 
funds  on  which  he  lived  during  his  tirst  year  in 
London.  Stodart,  the  pianoforte-maker,  who  was 
married  to  a  connection  of  the  Wilkies,  introduced 
the  3'oung  painter  to  Lord  Mansfield.  At  this  time — 
it  was  in  the  last  month  of  1805 — Wilkie  had  finished 
the  sketch  for  '  Village  Politicians,'  which  Lord 
Mansfield  saw,  and  apparently  said  enough  about  it 
to  give  him,  in  his  own  opinion,  a  right  to  the  re- 
fusal of  the  finished  picture,  and  that  at  what  was 
even  then  the  absurd  price  of  fifteen  guineas.  The 
picture  went  to  the  Academy  of  1806,  where  it  had 
an  extraordinary  success,  and  after  some  dispute, 
entered  Lord  Mansfield's  collection  at  the  price  of 
thirty  guineas.  The  success  of  'Village  Politi- 
cians '  brought  Wilkie  commissions  from  Sir  George 
Beaumont  and  Lord  Mulgrave.  For  the  former  he 
painted  '  The  Blind  Fiddler,'  exhibited  in  1807  ; 
for  the  latter  the  '  Kent  Day.'  Lord  Mulgrave 
sent  him  a  cheque  for  it  for  three  times  the  agreed 
price,  and  advised  him  to  be  a  little  bolder  in  his 
demands  for  the  future.  The  '  Rent  Day '  was 
exhibited  in  1809.  After  Lord  Mulgrave's  death 
it  was  ofEered  at  Christie's,  but  bouglit  in  for  750 
guineas,  and  afterwards  sold  for  £2000.  About  this 
time  (1807)  the  Duke  of  Gloucester  gave  Wilkie 
a  commission,  through  Sir  Francis  Bourgeois,  which 
resulted  in  the  '  Card  Players,'  for  which  H.R.H., 
like  Lord  Mulgrave,  paid  treble  the  price  asked. 
The  picture  was  afterwards  sold  to  Mr.  Bredel  by 
the  Duchess  for  600  guineas.  '  Card  Players'  was 
exhibited  in  1808  ;  in  1809,  'A  Sick  Lady,'  now 
in  the  collection  of  Lord  Lansdowne,  Avas  at  the 
Academy,  and  in  the  same  year  the  painter  was 
elected  an  Associate  of  that  society.  It  was  in 
1810  that  the  painful  incident,  to  him,  of  his  absten- 
tion from  exhibition  in  obedience  to  the  advice  of 
some  of  his  colleagues  took  place,  and  that  he 
withdrew  his  '  Man  with  the  Girl's  Cap ' — one  of 
the  very  finest,  in  quality,  of  all  his  works — in 
apprehension  lest  it  might  be  eclipsed  by  the  work 
of  Edward  Bird.  By  this,  perhaps,  he  was  mainly 
induced   to   have  the  separate  show  of  his   own 


works,  which  took  place  in  the  summer  of  1811. 
In  this  same  year  he  was  elected  a  full  Academician, 
in  succession  to  Sir  F.  Bourgeois.  His  chief  pro- 
ductions in  the  year  between  his  promotion  to  the 
R.A.-ship  and  the  peace  of  1814,  were  '  The 
Village  Festival,'  '  Blindman's  Buff,'  and  '  Duncan 
Gray.'  In  1814  he  and  Haydon  went  together  to 
Paris,  a  memorable  journey,  which  is  described 
to  perfection  in  Haydon's  wonderful  diary.  On 
his  return  Wilkie  set  to  work  on  his  '  Distraining 
for  Rent,'  which  was  bought  by  the  Directors  of 
the  British  Institution.  In  the  autumn  of  the  same 
year  he  made  a  tour  in  the  Netherlands,  in  com- 
pany with  the  engraver  Rairabach,  returning  by 
the  way  of  Calais,  where,  like  Hogarth,  he  was 
arrested  for  sketching  the  famous  gate.  In  1817 
he  made  a  journey  in  Scotland,  covering  much  the 
same  ground  as  a  modern  tourist,  and  finishing 
with  a  visit  to  Abbotsford,  where  he  painted  Scott 
and  his  family  in  the  guise  of  peasants.  On  his 
return  to  London  he  painted  '  The  Penny  Wedding  ' 
for  the  Prince  Regent,  the  '  Reading  of  a  Will '  for 
the  King  of  Bavaria,  and  the  '  Chelsea  Pensioners 
and  the  Waterloo  Gazette '  for  the  Duke  of  Wel- 
lington. In  1822  he  was  back  in  Scotland,  to  be 
present  at  the  famous  visit  of  George  IV.,  and 
again  in  1824  ;  and  then,  in  1825,  came  the  failure  of 
health  which  drove  him  to  seek  change  of  scene, 
and  led  to  a  complete  change  in  his  art.  In  1812 
Wilkie's  father  had  died,  and  he  had  summoned  his 
mother  and  sister  Helen  from  Scotland  to  share  his 
home,  which  was  henceforth  in  Philliniore  Place, 
Kensington.  In  1824,  on  the  day  before  his  return 
from  Scotland,  his  mother  had  died,  and  her  death, 
no  doubt,  was  one  cause  of  his  illness. 

His  foreign  route  lay  through  Paris,  Milan,  Genoa, 
Pisa,  Florence,  Rome,  Naples,  Bologna,  Parma, 
Venice,  Innspruck,  Munich,  Dresden,  Toeplitz, 
Prague,  and  Vienna,  and  then  by  Trieste  back 
to  Italy  and  Rome.  From  Italy,  he  went  to  Switzer- 
land and  then  to  Spain,  where  the  example  of 
Velazquez,  Murillo,  and  the  crowd  of  unknown  Span- 
iards of  lesser  mark  revolutionized  his  style.  From 
Spain  he  sent  several  pictures  home  to  the  Aca- 
demy, and  in  1828  he  returned  to  England.  From 
this  time  forward  lie  painted  openly,  loosely,  with 
little  care  for  detail,  and  with  less  for  local  and 
individual  truth.  Even  in  his  finest  works  there 
are  hints  of  the  mannerist,  and  in  the  weakly  con- 
dition in  which  his  last  sixteen  years  were  passed, 
he  seems  to  have  had  no  strength  to  shake  off  the 
fault.  Two  of  the  best  pictures  of  this  time  are 
'  Napoleon  and  Pius  VII.,'  and  'The  Queen's  First 
Council,'  but  it  is  to  the  reflected  glory  of  the  early 
pictures  that  most  of  their  sesthetic  interest  is  due. 
On  the  death  of  Sir  Thomas  Lawrence,  in  1830, 
Wilkie  was  appointed  Painter  in  Ordinary  to  the 
King,  and  was  brought  forward  for  the  Presidency 
of  the  Academy.  For  this,  however,  he  only 
received  two  votes,  those  of  Collins  and  Leslie. 
Between  1830  and  1840  Wilkie  painted  many 
pictures,  among  them  the  two  above-named,  and 
the  'First  Earning,' in  the  National  Gallery.  In 
1840  he  began  that  pilgrimage  to  the  East,  from 
which  he  was  never  to  return.  Leaving  London 
in  August,  with  Jlr.  William  Woodburn,  he  made 
his  way,  by  the  Rhine  and  Danube,  to  Constan- 
tinople, where  he  painted  the  Sultan's  portrait, 
and  where  he  was  the  guest  of  Sir  Moses  Montefiore. 
From  Constantinople  he  made  his  way  by  Smyrna, 
Rhodes,  and  Beyrout  to  Jerusalem.  From  Jeru- 
salem he  turned  to  come  home  by  way  of  Alex- 

373 


A   BIOGRAPHICAL   DICTIONARY  OF 


andria,  Malta,  and  Gibraltar.  After  the  steamer 
left  Malta  he  was  taken  suddenly  ill,  and  on  the 
forenoon  of  June  1,  1841,  he  died.  He  was  buried 
at  sea  the  same  evening,  within  sight  of  Gibraltar. 
Works: 

Edinburgh.  Nat.  Gall.  Knox  dispensing  the  Sacra- 
ment at  Calder  House.  { Un^ 
finished.^ 

jj  „  Sketch  of  Kilmartin  Sacrament. 

„  ,.  Sketch  of  a  Confessional. 

„  „  Portrait  of  Mrs.  Hunter,  Wil- 

kie's  sister. 

„  „  Sketch  of  Blind  Man's  Buff. 

{Pen  and  sepia.) 
London.  Nat.  Gall.     The  Blind  Fiddler. 

„  „  The  Village  Festival 

„  „  The  Pari.sh  Beadle. 

„  „  The  First  Earning. 

„  „  The  Bagpiper. 

„  „  Newsmongers. 

„  „  John  Knox  preaching. 

„  „  Sketch  for '  Blind  Man's  Buff.' 

„  „  A  wooded  landscape. 

„  „  Portrait  of  T.  Daniell,  E A. 

ff         S.  Kensington.     The  Broken  Jar. 

„  „  Duncan  Gray. 

,,      JVat.  Fort.  Gall.     Portrait  of  himself. 

„       Koi/al  Academy.     Boys  digging  for  Kats. 

,,        i^tcjford  House.     Breakfast. 

„  Apsley  House.     Chelsea  Pensioners  reading  the 

'Waterloo  Gazette.' 

„     Earl  »/ ^"'-"j™- 1  Sketch  for 'Reading  of  a  WiU.' 

„    Marquis  of  Urn- 1  ^^^  j^^,^  ^^^^ 

„  „  Grandmamma's      Cap     (*  Old 

Mau  with  a  Girl's  Cap  '). 
„    Buckingham  Pal.     The  Penny  Wedding. 
„  ,,  Ulind  Man's  Buff. 

Munich.  New  Pina- )  mi.    t>     j-         c     -rn-n 

Nottingham.  Corporation  )  Sketch     for     '  The     Soldier's 
Art  Museum,  j     Grave.'     {Bequeathed  by  the 
late    Mr.    Richard    Godson 
Millns.) 
Windsor  Castle.  The  Queen's  First  Council. 

Pitlessie  Fair.     [.J.  Boyd-  Kinnear,  Esq.) 

The  Card  Players. 

A  School ;  uufiuished. 

An  Old  Soldier. 

Alfred  in  the  Neatherd's  Cottage. 

The  Letter  of  lutroductiou.     (J*.  BrocJclebank,  Esq.) 

Discovery  of  the  Body  of  Tippoo  Sahib. 

The  Village  Kecruit. 

The  Bride  at  her  Toilet. 

Napoleon  and  Pius  VII. 

The  China  Menders. 

The  Cottage  Toilet. 

Tlie  Cottar's  Saturday  Night. 

The  Cut  Finger. 

Distraiuiog  for  Rent. 

Entry  of  George  IV.  into  Holyrood. 

Grace  before  Jleat. 

Josephine  and  the  Fortune-teller. 

Not  at  Home. 

Columbus  at  La  Rabida. 

The  Confessional. 

The  Guerilla  Council  of  War. 

The  Guerilla  takirig  leave  of  his  Confessor, 

The  Maid  of  Saragoasa. 

Pifferari  playing  hymns  to  the  Madonna. 

Portraits  of  Queen  Adelaide,  George  IV.,  William  IV., 
Queen  Victoria,  Duke  and  Duel  ess  of  Buccleuch, 
Edward  Irving,  Sir  William  Knighti^n,  Lord  Kellie, 
Daniel  O'Connell,  Duke  of  York,  Duke  of  Sussex  ; 
OTld  many  others. 

Wilkie  was  an  etcher  of  great  ability,  though 
but  little  practice.  He  has  left  fourteen  plates, 
the  best  of  which  are  '  Cellini  and  the  Pope,'  and 
' The  Lost  Receipt'  (dry  point).  W.  A. 

WILKIN,  Charles,  an  English  engraver,  was 

374 


bom  in  1750.  He  gained  a  prize  at  the  Society  of 
Arts  in  1771,  and  practised  in  London,  working 
chiefly  in  stipple,  and  on  portraits.  He  died  from 
the  effects  of  an  accident,  May  28,  1814.  Amongst 
his  best  plates  are  : 

Master  Henry  Hoare ;  after  Reynolds.    1789. 

Lady  (Jockbum  and  Children  ;  after  the  same.    1791. 

WILKIN,  Frank  W.,  an  English  portrait  painter 
and  son  of  Charles  Wilkin,  the  engraver,  was  born 
about  the  close  of  the  18th  century.  His  early 
efforts  were  in  miniature,  but  in  his  later  period 
he  worked  in  chalk,  exhibiting  at  the  Academy 
from  1820  to  1841.  For  a  time  he  was  ambitious 
to  shine  as  an  historical  painter,  and  in  1820  ex- 
hibited at  Spring  Gardens  a  very  large  picture  of 
'The  Battle  of  Hastings,'  which  he  had  painted  on 
commission.  But  he  did  not  receive  any  encourage- 
ment to  persevere  in  this  branch  of  art.  He  died 
in  September,  1842. 

WILKIN,  Henry,  portrait  painter,  and  also 
a  son  of  Charles  Wilkin,  the  engraver,  was  born 
in  1801.  He  practised  in  London,  and  afterwards 
in  Brighton,  where  lie  died  in  1852.  His  works, 
consisting  chiefly  of  portraits  in  pastel,  appeared 
at  the  Academy  from  1831  to  1847. 

WILKINS,  Robert,  an  English  marine  painter, 
was  born  shortly  before  1750.  The  Society  of  Arts 
awarded  him  a  prize  in  1765,  from  which  year 
up  to  1778  he  exhibited  with  the  Free  Society. 
His  works  also  appeared  at  the  Royal  Academy 
from  1772  to  1788,  and  soon  after  the  latter  date 
he  is  believed  to  have  died.  He  painted  storms, 
moonlights,  sea-fights,  and  ships  on  fire. 

WILKINSON,  the  Rev.  Joseph,  an  amateur 
draughtsman,  published  in  1810  a  series  of  land- 
scapes from  Cumberland,  Westmoreland,  and 
Lancashire,  with  Ackermann.  They  are  poor 
productions. 

WILKINSON,  ,   an  engraver,  working  in 

London  towards  the  end  of  the  18th  century.  His 
attention  was  chiefly  given  to  portraits,  but  a  good 
mezzotint  after  Northoote's  '  Loss  of  the  Ilalsewell 
East  Indiaman,'  is  by  him. 

WILLAERTS,  Abraham,  the  son  of  Adam 
Willaerts,  was  born  at  Utrecht.  The  date  of  his 
birth  is  usually  given  as  1613,  but  tliis  cannot  be 
correct  if,  as  Kramm  asserts,  lie  was  Dean  of  the 
Guild  at  Utrecht  in  1624.  For  some  time  he  was 
instructed  by  his  father,  but  he  afterwards  studied 
under  Jan  Bijlaert.  On  leaving  that  master  he 
went  to  Paris,  where  he  entered  tlie  school  of 
Simon  Vouet,  and  became  a  reputable  painter  of 
portraits,  historical  subjects,  and  sea-pieces.  Re- 
turning from  France  to  Holland  he  visited  Brussels, 
where  he  was  taken  into  the  service  of  Prince 
Maurice,  in  whose  employment  he  passed  several 
years.  As  a  Dutch  soldier  he  afterwards  took 
part  in  the  expedition  to  Angola,  where  lie  painted 
costumes  and  landscapes.  He  died  at  Utrecht  in 
1G71.  He  painted  the  portrait  of  Jan  Both,  and 
was  the  intimate  friend  of  Jakob  van  Campen,  the 
architect.  Pictures  by  him  are  at  Munich  and 
Brunswick.  He  had  a  brother,  Cornelis  Wil- 
laerts, a  landscape  painter,  and  a  member  of  the 
Guild  of  St.  Luke.  A  second  brother,  Isaac 
WiLLAEKTS,  is  mentioned  in  tlie  Utrecht  records 
as  having  painted  in  that  city  in  1659.  In  the 
museum  there  several  pictures  may  be  seen,  by 
Schoorl,  to  wliich  Isaac  Willaerts  added  the 
figures.  A  river  landscape  by  him  is  in  the 
Rotterdam  Museum. 

WILLAERTS,    Adam,    (Willarts,    Willkrs,) 


Q 


Q 
Q 
U 


PAINTERS  AND  ENGRAVERS. 


W.13  born  at  Antwerp  in  1677,  and  distinguished 
himself  as  a  painter  of  river  and  canal  pieces, 
coast  views,  fish-markets,  processions,  and  so 
forth.  His  pictures  are  generally  embellished  with 
groups  of  small  figures  correctly  drawn,  and 
handled  with  spirit.  He  also  painted  villages  and 
ships  on  fire.  In  the  year  1600  he  left  Antwerp, 
and  established  himself  at  Utrecht,  where  he  be- 
came a  member  of  the  Guild  of  St.  Luke  in  1611, 
and  Dean  in  1620.  It  has  been  said  that  he  died 
after  1666,  but  Cornells  de  Bie  writes  of  him  as 
already  dead  in  1662.  Two  sea-fights  by  him  are 
in  the  States  Chamber  at  Utrecht,  and  a  '  View  of 
Dordrecht  from  the  Water-side  '  is  in  the  museum 
of  the  latter  city.  Pictures  by  him  are  also  to  be 
found  at  Antwerp,  Berlin,  Frankfort,  Dresden, 
Rotterdam,  Copenhagen,  Vienna,  and  Madrid. 

WILLE,  AnocST  von,  German  painter,  born  at 
Cassel  in  1829 ;  became  a  pupil  of  the  Diisseldorf 
Academy  ;  worked  at  Weimar  and  Diisseldorf. 
Many  of  bis  works  were  exhibited  at  his  death  in 
the  Diisseldorf  Kunsthalle.  They  were  mainly 
landscapes  and  genre  subjects.  He  died  at  Diissel- 
dorf, March  31,  1887. 

WILLE,  JoHANN  Georg,  an  eminent  engraver, 
■was  born  in  the  Biebertha],  near  Koiiigsberg, 
Novembers,  1715.  In  liis  early  youth  lie  was  placed 
under  a  gunmaker,  with  whom  he  learnt  to  engrave 
in  silver  and  steel.  In  1736  he  went  to  Paris,  where 
he  engraved  some  plates  after  Rigaud.  His  earlier 
works  were  mostly  portraits,  but  later  be  also  ap- 
plied himself  to  historical  subjects.  He  worked  in 
line,  and  particularly  excelled  in  representing  silk 
and  satin  draperies,  and  the  general  delicacy  of 
his  method  was  admirably  adapted  to  do  justice 
to  the  work  of  the  most  celebrated  Dutch  painters. 
In  1746  he  visited  Western  Germany,  but  returned 
to  Paris  in  the  following  year,  and  remained  there 
for  the  rest  of  his  prolonged  life.  In  the  Revo- 
lution he  lost  his  jiroperty,  and,  about  the  same 
time,  became  blind.  He  died  in  Paris  in  1808, 
in  his  ninety-third  year.  The  dates  on  his  prints 
range  from  1738  to  1790.  His  talent  was  duly 
appreciated  during  his  life,  and  accordingly  he 
was  a  member  of  the  Academies  of  Paris,  Rouen, 
Augsburg,  V'ienna,  Berlin,  and  Dresden.  He  was 
engraver  to  the  King  of  France,  to  the  Emperor 
of  Germany,  and  to  the  King  of  Denmark  ;  he  was 
also  a  Knight  of  the  Legion  of  Honour.  Among  his 
most  distinguished  pupils  may  be  named  Schulze, 
Schmutzer,  J.  G.  Miiller,  Bervic,  Dunker,  Chevillet, 
the  brothers  Giittenberg,  Halm,  and  Dennel.  His 
memoirs,  by  himself,  were  edited  by  Georges 
Duplessis,  with  a  preface  by  Edmond  and  Jules  de 
Goncourt  (Paris,  1857).  The  following  are  among 
his  most  famous  prints  : 

Prince  James  Frances  Edward  Stu,irt. 

Prince  Cliarles  James  Edward  Stuart. 

Prince  Henry  Benedick  Stuart,  Cardinal  York. 

Prospero,  Cardinal  Colonna  ;  after  Pompeo  Jiatoni. 

Frederick  II.,  King  of  Prussia ;  after  Pesne. 

Marslial  Saxe  ;  after  Rigaud. 

"Waldemar  de   Loevendael,  Marshal   of    France ;   after 

La  Tour. 
Lonis  Philipeaux,  Coui;t  of  .St.  Florentin ;  after  Tocqui. 
J.  B.  Mass^  ;  after  the  same. 
Albert  Francois  Poisson,  Marquis  de  Marigny  ;  after  the 

same. 
C.  E.  Briseux,  Arcliitect. 
Anastasia  of  Hesse-Homburg ;  after  Roslin. 
Marguerite  Elisabeth  de  LargUliere  ;  after  K.  de  Lar- 

yilliere. 
Elisabeth  de  Gouy,  wife  of  H.  Kigaud  ;  after  Rigaud. 
Joseph  Parrocel,  Painter  ;  after  the  same. 


Jean  de  Boullongne,  Comptroller-general  of  Finance; 

after  the  same. 
The  Death  of  Cleopatra  ;  after  Neisclier. 
The  Death  of  Mark  Antony  ;  after  Pompeo  Batoni. 
Les  Bons  Amis ;  after  Ostade. 
La  Menagere  HoIIandaise  ;  after  G.  Dou. 
La  Liseuse  ;  after  the  same. 
L'lnstruction  Paternelle ;  after  Terborch. 
La  Gazettiere  HoIIandaise  ;  after  the  same. 
La  Tricoteuse  ;  after  Mieris. 
L'Observateur  Distrait ;  after  the  same. 
La  Cuisiniere  HoIIandaise  ;  after  Metsu. 
Le  Concert  de  Famille  ;  after  Schalcken. 
Les  Musiciens  Ambulants  ;  after  Dietrich^ 
Les  Off  res  K^ciproques;  after  the  same. 
La  Petite  Ecoliere  ;  after  J.  E.  Schenau. 
Le  Mar^hal-des-Logis  ;  after  P.  A.  Wille. 
La  Maitresse  d'Ecole ;  after  the  same, 
Les  Soins  Materuels ;  afttr  the  same. 
Les  Delices  Materuelles  ;  after  the  same. 

WILLE,  Pierre  Alexandre,  painter  and  etcher, 
the  son  of  Johanii  Georg  Wille,  was  born  in  Paris, 
July  19th,  1748.  After  receiving  some  instruction 
from  his  father,  he  was  the  scholar  successively 
of  Vien  and  Greuze.  He  distinguished  himself  as 
a  painter  of  domestic  and  other  subjects,  and 
became  a  member  of  the  Paris  Academy.  He  was 
appointed  court  painter  to  Louis  XVI.,  but,  like 
his  father,  lost  his  property  during  the  Revolution. 
He  died  in  Paris  after  1820,  for  in  1821  he  petitioned 
the  Duchesse  d'Angouleme  to  assist  him  in  the 
maintenance  of  his  wife  in  the  asylum  of  Charenton. 
His  father  {q.  v.)  engraved  after  him.  He  amused 
himself  occasionally  with  the  point,  and  etched 
a  few  prints,  among  them  one  called  '  Le  Petit 
Vauxhall,'  from  his  own  design.  He  also  left  some 
good  drawings  in  Indian  ink,  including  the  por- 
traits of  his  father  and  mother.  There  are  pictures 
by  him  m  the  museums  of  Angers,  Bordeaux,  and 
Cambrai. 

WILLEBORTS,  Thomas,  (or  Wileboorts,) 
sometimes  called  Bosschaert,  (or  Bossaert,)  was 
born  at  Bergen-op-Zoom  in  1613.  After  studying 
for  a  time  in  his  native  city  he  was  sent  to  Antwerp, 
where  he  became  a  disciple  of  Gerard  Zeghers, 
under  whom  he  worked  four  years,  when  he  was 
advised  by  his  preceptor  to  visit  Italy.  On  his 
return  to  Antwerp,  he  was  commissioned  to  paint 
several  altar-pieces  for  the  cliurches  there,  and  in 
other  cities  of  Flanders  and  Br.abant.  His  style 
was  modelled  on  that  of  Van  Dyck.  He  was  much 
employed  by  Prince  Frederick  Henry  of  Orange 
and  his  son  William,  for  the  former  of  whom  he 
painted  several  important  works,  particularly  a 
large  allegory  of  '  War  and  Peace.'  Two  of  his 
best  pictures  are  a  '  Marriage  of  St.  Catharine,'  in 
tlie  church  of  the  Carmelites,  Rt  Antwerp;  and  a 
'  Martyrdom  of  St.  Basil,'  at  the  Capuchins,  in 
Brussels.  In  1650  he  was  made  Dean  of  the  St. 
Luke's  Guild  at  Antwerp,  and  died  in  that  city 
in  1656.  Some  of  his  portraits  were  engraved 
by  Paul  Pontius,  others  by  Theodorus  van  Kessel. 
His  pictures  are  to  be  found  in  the  museums  at 
Brussels  and  other  Belgian  towns,  while  his  '  Venus 
and  Adonis  '  and  '  Lion  in  Love '  are  at  the  Hague, 
and  his  '  Elijah  in  the  De.sert '  in  the  Vienna 
Gallery. 

WILLEMANS.     Rpe  Wilmiann. 

WILLEMENT,  Thomas,  a  skilful  artist  in 
stained  glass,  born  in  1786,  and  successively  herald 
painter  to  George  IV.  and  to  Queen  Victoria.  He 
issued  a  considerable  number  of  heraldic  books, 
several  of  which  he  illustrated  himself.  He  was  a 
skilful  painter  upon  stained  glass,  confining  his 

376 


A   BIOGRAPHICAL  DICTIONARY  OF 


attention  mainly,  however,  to  armorial  bearings. 
He  was  an  antiquary  of  no  mean  repute,  and  con- 
tributed several  articles  to  the  publications  of  the 
Society  of  Antiquaries.  Genealogy  and  topography 
also  received  considerable  attention  at  his  hands, 
and  he  made  close  investigations  into  the  history 
of  the  land  and  buildings  on  his  own  estate  near 
Faversham  in  Kent.  He  will  be  remembered  for 
his  exceedingly  accurate  heraldic  drawings,  and  for 
the  sketches  which  he  made  in  annotating  volumes 
in  his  own  library.  For  some  years  prior  to  his 
death  he  retired  from  the  active  pursuit  of  his 
profession,  and,  a  widower  without  family,  died 
in  his  own  house  in  1871. 

WILLEMIN,  Nicolas  Xavier.  engraver,  was 
born  at  Nancy-Etiville  (Meurthe)  on  the  5th 
August,  17C3.  He  was  a  pupil  of  Taillasson  and 
of  Lagrenee,  junior,  and  exhibited  at  the  Salon  in 
1800  and  1824.  He  died  in  Paris,  January  25th, 
1839. 

WILLEMS,  CoRNELis,  an  obscure  painter,  who 
flourished  at  Haarlem  in  the  16th  century,  and 
was  the  first  master  of  Maerten  v.  Veen. 

WILLEMS,  Marcus,  was  born  at  Mechlin  in 
1527,  and  was  a  scholar  of  Michiel  van  Coxie. 
He  painted  a  good  picture  of  the  '  Decollation  of 
St.  John '  for  the  church  of  S.  Rombouts  in  his 
native  town.  When  Philip  11.  of  Spain  made 
his  public  entry  into  Mechlin,  Willems  was  em- 
ployed to  paint  a  triumphal  arch  with  the  '  History 
of  Dido,'  though  he  was  then  only  twenty-two 
years  of  age.  He  designed  much  for  glass-painters 
and  tapestry  weavers,  and  worked  for  a  short  period 
in  England.     He  died  in  1561. 

WILLERS,  Ernst,  a  landscape  painter,  was 
born  an  Oldenburg  in  1804.  He  studied  at  Dresden 
and  Munich,  and  afterwards  travelled  in  Italy  and 
Greece,  collecting  subjects  which  he  used  in  later 
■works.     He  died  in  1880. 

WILLES,  William,  an  Irish  landscape  and 
subject  painter,  was  born  at  Cork  about  the  begin- 
ning of  the  19th  century.  He  wag  a  man  of  con- 
siderable culture,  and  occasionally  exhibited  at  the 
Royal  Academy  and  the  British  Institution,  be- 
tween 1820  and  1865.  In  the  middle  of  his  career 
he  lived  in  London,  but  in  the  latter  part  of  his  life 
at  Reading.  Among  his  exhibited  works  may  be 
named:  'A  Serenade,' 'A  River  Scene,' 'A  Mid- 
summer Night's  Dream,'  '  The  Mock  Funeral,'  and 
'Excelsior.'  Altogether  he  sent  twenty-seven 
pictures  to  the  two  exhibitions  above  named. 
After  1865  his  traces  disappear. 

WILLIAM  of  COLOGNE.     See  Kuln. 

WILLIAM  of  FLORENCE,  a  monk  of  West- 
minster Abbey,  in  tlie  13th  century,  who  was 
employed  by  Henry  III.  in  decorative  painting  at 
Windsor.     He  also  worked  at  Guildford. 

WILLIAMS,  Arthur  Gilbert.  See  under 
Williams,  Edward. 

WILLIAMS,  A.  Sheldon,  animal  painter  and 
draughtsman,  was  born  in  the  first  half  of  the 
present  century.  He  contributed  drawings  c^f 
sporting  subjects  to  many  of  the  leading  illustrated 
papers.     He  died  in  March,  1880. 

WILLIAMS,  Edward,  an  engraver,  who  worked 
in  London  at  the  end  of  the  18th  century,  and  to 
whom  we  owe  several  plates  after  Rowlandson,  and 
one  after  H.  Wigstead.  He  married  the  sister  of 
James  Ward,  R.A. 

WILLIAMS,   Edward,  landscape   painter,  and 
son  of  the  last-named,  was  born  in  Lambeth  in 
1782.     He  studied  under  his  uncle,  James  Ward, 
376 


and  was  afterwards  apprenticed  to  a  carver  and 
gilder.  Trying  his  hand,  however,  at  some  moon- 
light landscapes,  he  was  so  successful  that  he  took 
up  painting  again  in  earnest,  and  in  1814  and  1815 
exhibited  at  the  Royal  Academy.  Later  in  life  he 
painted  much  of  the  scenery  of  the  Thames.  He 
died  at  Barnes  on  the  24th  of  June,  1855,  leaving 
six  sons,  who  all  became  artists,  three  of  them 
changing  their  names  (to  Boddington  [g.  v.],  Percy 
[q.  v.],  and  Gilbert  [still  alive]  reBpectively)  to  avoid 
confusion. 

WILLIAMS,  Henry  Joun.    See  Boddington. 

WILLIAMS,  Hdgu  William,  (called  Grecian 
Williams,)  was  born  of  a  good  Welsh  family  in 
1773.  While  still  young  he  settled  in  Edinburgh, 
and  Scotland  became  his  adopted  country.  In 
1808  he  joined  the  short-lived  New  Society  of 
Painters  in  Water-Colours.  In  1811  and  1812  he 
published  six  large  engravings  of  Highland  views. 
After  winning  a  name  in  Edinburgh,  where  he  was 
personally  very  popular,  he  travelled  several  years 
in  Greece,  the  Greek  Islands,  and  Italy.  On  his 
return  in  1818,  he  began  to  publish  the  results  of 
his  journeys,  and  to  exhibit  the  sketches  he  had 
brought  home.  His  '  Travels  in  Italy,  Greece.and 
the  Ionian  Islands'  appeared  in  1820;  his  '  Views 
in  Greece'  came  out  in  numbers  between  1827  and 
1829.  He  married  a  lady  of  position  and  fortune, 
and  died  soon  after  at  Edinburgh,  June  23rd,  1829. 
There  is  an  account  of  his  Gallery  in  '  Peter's 
Letters.'  Works: 
Castle   Campbell,   looking  down    the  Devon.      {South 

Kensington.) 
Loch  Tummel.     (Do.) 
Bothwell  Castle.     (Do.) 

Temple  of  Minerva  Sunias,  on  Cape  Colonna.     (Scottish 
National  Gallery.) 

Athens  from  the  East.     (Do.) 

riain  of  Marathon  and  distant  View  of  Euboea.     (Do.) 

Twenty-five   drawings  of  Greek,  Italian,  and  Scottish 
Scenery.    (Do.) 

Many  of  his  early  topographical  drawings  are 
engraved  in  the  '  Scots  Magazine.' 

WILLIAMS,  James  Francis,  a  Scottish  landscape 
painter,  was  born  in  Perthshire  in  1785.  His  early 
manhood  was  spent  in  London,  scene-painting.  He 
went  back  to  Edinburgh  about  1810,  and  gradually 
relinquished  working  for  the  stage  for  teaching. 
After  1811  he  exhibited  with  the  Associated  Artists 
at  Edinburgh,  and  on  the  establishment  of  the 
Scottish  Academy  in  1826,  he  was  elected  one  of 
the  original  members,  becoming  subsequently 
Treasurer.  His  works  occasionally  appeared  in 
London  at  the  Royal  Academy,  the  British  Insti- 
tution, and  the  Society  of  British  Artists.  He  died 
at  Glasgow  in  1846.  By  him: 
Edinburgh.      Kat.  Gall.    Scene  on  the  Ayrshire  Coast. 

WILLIAMS,  John,  an  English  engraver,  born 
about  the  middle  of  the  18th  century.  He  studied 
in  the  schools  of  the  Academy,  and  under  Matthew 
Darby,  the  engraver.  But  he  is  chiefly  known  as 
an  art-critic,  writing  under  the  name  of  '  Anthony 
Pasquin.'  He  emigrated  to  the  United  States,  and 
died  at  Brooklyn  iu  1818.  His  chief  publications 
were : 

'  Liberal  Critique  on  the  Exhibition  for  1794.' 

'  Lives  of  English  and  Irish  Artists.'     1794. 

•  An  authentic  History  of  the  Professors  of  Painting. 
&;c.,  in  Ireland.' 

'  Memoirs  of  the  Academicians,  being  an  attempt   to 
improve  the  taste  of  the  Realm.' 

'  Critical  Guides  to  the  Academy  for  1796  and  1797.' 

WILLIAMS,  John   Michael,  portrait   painter, 


PAINTERS   AND   ENGRAVEES. 


said  to  have  been  a  scholar  of  Jonathan  Richardson, 
flourished  in  London  about  the  middle  of  the  18th 
century.  He  painted  a  half-length  portrait  of  Mr. 
Beard,  the  celebrated  singer,  from  which  there  is 
a  mezzotint  print  hy  McArdell.  He  exhibited  with 
the  Incorporated  Society  in  1761.  He  lived  in 
Scotland  Yard,  and  is  supposed  to  have  died  in 
London  about  the  year  1780. 

WILLIAMS,  Joseph  Lionel,  an  English  wood- 
engraver  and  water-colour  painter,  was  bom  early 
in  the  19th  century.  He  contributed  to  the  'Art 
Journal'  and  to  the  'Illustrated  London  News,' 
for  the  latter  of  wliich  he  superintended  the  en- 
gravings of  the  exhibition  of  1851.  For  the  Art 
Union  he  illustrated  '  L'Allegro,'  '  II  Penseroso,' 
'Childe  Harold,'  and  'The  Traveller.'  He  also 
worked  much  for  Messrs.  Blackie  of  Glasgow. 
His  water-colour  drawings,  chiefly  domestic  in  sub- 
ject, appeared  occasionally  at  the  Royal  Academy, 
the  British  Institution,  and  the  Society  of  British 
Artists,  between  1834  and  1874.  He  died  on  the 
19tli  September,  1877. 

WILLIAMS,  Penry,  painter,  was  born  at  Mer- 
thyr  Tydvil  in  1798.  His  father  was  a  house- 
painter,  and  he  himself  was  sent  as  a  boy  to  London, 
to  study  in  the  Royal  Acadeniy,  at  the  charges  of 
Sir  John  Guest,  Mr.  Crawshay,  and  some  other 
Welsh  magnates  who  were  interested  by  his  talent.- 
He  iirst  exhibited  at  the  Royal  Academy  in  1824. 
In  1827  he  went  to  Italy,  and  settling  in  Rome, 
continued  to  contribute  constantly  to  English  ex- 
hibitions, his  works  being  chiefly  Italian  landscapes 
and  character  subjects,  painted  in  the  manner  of 
the  Italian  school  of  fifty  years  ago.  His  '  Italian 
Girl  with  a  Tambourine,'  and  '  Italian  Peasants,' 
had  for  a  time  a  place  in  the  National  Gallery. 
They  have  now  been  relegated,  the  first  to  the 
Nottingham,  the  second  to  the  Leicester  Museum. 
For  nearly  sixty  years  he  was  a  familiar  figure  in 
Rome,  where  he  was  very  popular.  He  died  in  1885. 

WILLIAMS,  Roger  or  Robert,  mezzotint  en- 
graver, was  a  native  of  Wales,  and  flourished  about 
1700-15.  He  is  stated  to  liave  studied  under 
Theodorus  Freres.  He  has  left  a  number  of  por- 
traits, among  them  the  following  : 

Charles  I. ;  after  Van  Dpck. 

Edward,  Lord  Littleton,  Lord  Keeper ;  after  the  same. 

Charles  II. ;  two  plates  ;  after  Lely  and  Kneller. 

James  II.,  when  Duke  of  York  ;  after  Cooper, 

Mary  Beatrix,  his  Queen  ;  after  Wissing, 

"William  III., when  Prince  of  Orange;  after  the  sain^, 

Mary,  Princess  of  Orange   .after  the  same. 

Henry  Somerset,  Duke  of  Beaufort ;  after  the  same. 

William  Russell,  Duke  of  Bedford  ;  after  the  same. 

George,  Prince  of  Denmark  ;  after  the  sajiie. 

Anne,  Princess  of  Denmark  ;  after  the  same. 

Lord  Cutts,  when  Mr.  Cutts  ;  after  the  same. 

George  Fitzroy,   Duke  of   Northumberland  ;  after  the 

same. 
Charles  Lennox,  Duke  of  Eichmond;  after  the  same. 
James  Fitzroy,  Duke  of  Monmouth ;  after  the  sume. 
James  Butler,  Duke  of  Ormond  ;  after  the  same. 
Charles  Somerset,  Marquis  of  Worcester ;  o/Vc;-  the  same. 
Ann  Scott,  Duchess  of  Monmouth  ;  after  the  same. 
Catharine  Sedley,  Countess  of  Dorchester;    inscribed 

Mrs.  'Sedley  ;  after  the  same. 
The  Countess  of  Derby. 
Sir  Charles  Cotton  ;  after  Riley. 
Theophilus,  Earl  of  Huntingdon  ;  after  Kneller. 
Barbara  Villiers,  Duchess  of  Cleveland  ;  after  the  same. 
Sir  George  Eooke  ;  after  Bahl. 
Sur  John.  Houblon,  Alderman  of  London  ;  after  Closter- 

man. 
John  Campbell,  Duke  of  Argyll ;  after  the  same. 
Sir  Eichard  Blackmore,  M.D.  and  Poet ;  after  the  same. 
Sir  Edmund  King,  M.D. ;  after  Lely. 


WILLIAMS,  Samuel,  wood  engraver,  was  born 
at  Colchester  in  1788.  After  serving  an  apprentice- 
ship to  a  house-painter,  he  turned  his  hand  to 
wood-cutting,  and  soon  gained  employment  on 
natural  history  books.  He  also  designed  and  en- 
graved the  illustrations  for  an  edition  of '  Robinson 
Crusoe,'  published  in  1822.  Good  examples  of  his 
power  are  to  be  seen  in  Hone's  '  Every-day  Book ' 
(1825).  Between  1831  and  1845  he  was  an  occa- 
sional exhibitor  at  the  Royal  Academy.  He  died 
on  the  19th  September,  1853. 

WILLIAMS,  Solomon,  an  Irish  portrait  painter, 
born  in  Dublin  about  the  middle  of  the  18th  century. 
He  was  a  pupil  of  the  Dublin  Academy,  but 
spent  several  years  in  Italy.  While  there  he  made 
many  good  copies  of  Titian's  pictures,  and  was 
elected  a  member  of  the  Bologna  Academy.  Ou 
his  return  he  practised  in  Dublin,  with  the  ex- 
ception of  a  few  years  spent  in  London,  where  his 
works  occasionally  appeared  at  the  Royal  Academy 
and  the  British  Institution.  On  the  establishment 
of  the  Royal  Hibernian  Academy  he  was  elected 
one  of  the  original  members.  He  died  August  2, 
1824.  There  are  by  him  : 
Dublin.       Royal  DuUin  |  p^^^^^^  ^j  ^^^^^^  Valiancy. 

„  „  „  Mr.  Pleasant. 

WILLIAMS,  Thomas.  This  manwas  the  brother 
of  the  before-mentioned  Samuel  Williams,  and  was 
his  pupil.  He  was  a  very  skilful  wood  engraver, 
born  about  1800,  and  is  believed  to  have  died  about 
1840.  In  skill  he  was  almost  his  brother's  equal, 
but  he  had  no  power  whatever  of  origination,  and 
was  solely  a  copyist.  He  illustrated  Northcott's 
'Fables'in  1828,  and  Martin's  'Bible  Illustrations.' 
He  never  married,  and  was  more  or  less  in  poor 
health. 

WILLIAMS,  T.  H.,  an  English  landscape  painter 
in  water-colours,  who  worked  at  Plymouth  and 
Exeter  in  the  early  part  of  the  19th  century.  His 
pictures  were  occasionally  exhibited  at  the  Royal 
Academy  and  the  British  Institution,  between  1801 
and  1830.  lie  also  practised  as  a  draughtsman, 
and  drew  and  etched  plates  for  the  following 
publications : 

'Picturesque  Excursions  in  Deronshire  and  Cornwall. 
1SU4. 

'  Tlie  Environs  of  Exeter.'     1815. 

'  A  Tour  in  the  Isle  of  'Wight.' 

'  A  "Walk  on  the  Coast  of  Dorsetshire.'    1828. 

WILLIAMS,  William,  an  English  subject,  land- 
scape, and  portrait  painter,  who  practised  in  London 
and  Norwich  in  the  latter  half  of  the  18th  century. 
The  Society  of  Arts  awarded  him  a  premium  in 
1758,  and  he  exhibited  occasionally  at  the  Royal 
Academy  between  1770  and  1792.  His'  Marriage  ' 
and  'Gallantry'  were  engraved  by  Jukes,  and 
several  of  his  Shakespearian  subjects  by  "Valentine 
Green. 

WILLIAMSON,  Daniel,  landscape  painter  and 
teacher,  the  elder  son  of  John  Williamson,  was 
born  at  Liverpool  in  1783.  He  was  a  member  of 
the  Liverpool  Acadeniy  from  its  formation  in  1810 
to  the  end  of  his  life,  and  he  contributed  liberally 
to  its  exhibitions.  He  had  a  good  practice  as  a 
teacher,  but  his  paintings  did  not  rise  above 
mediocrity.     He  died  January  16,  1843.       E.  R,  D. 

WILLIAMSON,  Daniel  Alexander,  painter  of 
landscape  in  oil  snd  water-colour,  was  born  at 
Islington,  Liverpool,  September  24,  1822  or  1823. 
He  was  the  son  of  Daniel  Williamson.  D.  A. 
Williamson  was  at  first  employed  as  draughtsman 

377 


A  BIOGRAPHICAL  DICTIONARY  OF 


to  a  local  cabinet-maker ;  from  this  uncongenial 
beginning  he  turned  to  portrait  painting,  of  wliich 
he  exhibited  examples  at  the  Liverpool  Academy 
from  1848  to  1851.  Afterwards  he  abandoned 
portraiture  for  landscape.  Either  in  Liverpool  or  in 
London,  to  wliich  he  removed  about  1852,  he  be- 
came an  ardent  follower  of  pre-Raphaelite  methods 
of  representation.  Some  of  his  performances  at 
this  time  sliow  astonisliing  power  in  minute 
imitation  of  landscape  detail  ;  they  are,  however, 
more  surprising  than  pleasing.  Eventually  Wil- 
liamson adopted  a  broad  Cox-like  techni(iue,  in 
whicli  he  produced  some  admirable  work.  Subse- 
quently he  underwent  a  further  change,  and  his 
later  drawings  are  elusive  impressions  of  scenery 
as  seen  with  the  eyes  of  a  visionary,  intent  only 
on  the  envelopment  and  the  spirit  of  his  theme. 
Some  of  them  are  remarkably  impressive  and  sug- 
gestive. Ill-health,  which  was  probably  no  more 
than  the  result  of  a  keenly-sensitive  temperament, 
led  Williamson  to  leave  London  about  1861,  and 
to  become  almost  a  recluse.  He  seldom  exhibited, 
and  was  content  in  his  home  on  the  fell-side  beyond 
Broughton-in-Furness  to  paint  as  his  spirit  moved 
him  for  a  few  discerning  patrons.  The  art-world 
generally  never  saw  or  heard  of  him,  but  it  is  far 
from  unlikely  that  his  pictures  will  perpetuate  his 
name  as  a  man  of  unusual  power  and  originality. 
He  died  on  February  12,  1903,  and  was  buried  in 
Broughton-in-Furness  churchyard.  His  wife,  the 
companion  of  the  last  thirty-tive  years  of  his  life, 
survived  him  ;  they  had  no  children.  He  was  a 
man  of  large  reading  and  culture,  a  good  musician, 
and  an  excellent  tenor  singer.  Prominent  col- 
lectors of  his  art  are  Mr.  James  Smith  of  Blundell- 
sands  and  Mr.  Andrew  Bain  of  Glasgow.  E.  R.  D. 
WILLIAMSON,  John.  This  artist  was  born  at 
Ripon  in  1751,  and  worked  for  a  time  at  Birming- 
ham as  a  decorator  in  some  japanning  works.  He 
was  married  in  1781,  and  had  two  sons  and  four 
daughters.  In  or  before  1783  he  settled  at  Liver- 
pool and  became  a  successful  portrait  painter. 
Williamson  was  a  "  visitor"  (t.  e.  a  teaching  mem- 
ber) of  the  Society  for  Promoting  Painting  and 
Design  in  Liverpool,  founded  in  1783.  At  its 
first  exhibition,  in  1784,  he  showed  three  portraits, 
a  landscape,  and  two  single-tigure  subjects.  To 
the  second  (and  last)  exhibitioUj  in  1787,  he  sent 
five  portraits.  He  was  brought  into  special  notice 
by  an  admirable  portrait  he  painted  of  a  local 
celebrity,  Nathan  Litherland,  the  inventor  of  the 
patent  lever  watch.  He  was  then  employed  to 
paint  the  portrait  of  William  Roscoe,  who  formed 
the  celebrated  collection  of  early  Italian,  Flemish 
and  German  paintings  now  deposited  in  the 
Walker  Art  Gallery,  Liverpool.  He  also  painted 
Sir  William  Beechey  and  various  members  of  the 
Royal  Academy,  and  hia  portraits,  although  some- 
what monotonous  and  a  trifle  too  definite  in  out- 
line, were  satisfactory  likenesses,  and  pleasing 
works  of  art.  Williamson  was  an  original  member 
of  the  Liverpool  Academy  on  its  foundation  in 
1810,  but  ceased  to  be  a  member  after  1811.  He 
showed  nothing  that  year,  but  afterwards  sent 
regularly  until  1814,  after  which  there  was  no 
further  exhibition  in  his  lifetime.  In  1810,  in 
addition  to  portraits,  he  showed  a  landscape,  and 
in  1811  an  '  Arcadian  Shepherdess.'  He  died  at 
Liverpool,  May  27,  1818.  E.  R.  D. 

WILLIAMSON,  Peter,  an  engraver  who  flour- 
ished about  the  time  of  the  Restoration.     He  lived 
in  London,  and  was  apparently  a  publisher  also. 
378 


We  have  by  him  some  portraits,  among  them  King 
Charles  II.,  Queen  Catherine  of  Braganza,  and 
Mildmay,  Earl  of  Westmoreland.  He  also  engraved 
Bome  small  illustrations  of  Charles  II.'s  escape  after 
Worcester,  dated  1067.  He  was  employed  for  a 
time  by  David  Loggan. 

WILLIAMSON,  Samuel,  the  younger  son  of 
John  Williamson,  born  at  Liverpool  in  1792,  was 
a  landscape  artist  of  considerable  importance, 
wliosc  style  was  considerably  influenced  by  a  study 
of  Berchem.  He  was  an  Associate  of  the  Liver- 
pool Academy  on  its  formation  in  1810,  and  a 
full  member  in  the  following  year.  He  con- 
tributed three  landscapes  to  the  first  exhibition 
in  1810,  and  seven  in  the  following  year.  In 
1812  he  was  not  a  member  and  did  not  exhibit, 
but  he  showed  landscapes  in  the  two  following 
years,  after  which  there  were  no  exhibitions  till 
1822.  From  the  revival  in  that  year  Williamson 
was  a  member  until  1831,  and  he  exhibited  inter- 
mittently till  1839.  He  is  represented  in  the 
Liverpool  Permanent  Collection  by  two  landscapes 
and  one  marine  subject,  and  his  art  is  to  be  found 
in  many  local  private  collections.  He  also  ex- 
hibiled  at  Manchester,  Birmingham,  and  Leeds, 
and  twice  at  the  Royal  Academy,  on  the  second 
occasion  sending  in  an  anonymous  contribution. 
Williamson  was  a  man  of  considerable  know- 
ledge, had  travelled  on  the  Continent,  knew 
more  than  one  language,  and  was  a  voracious 
reader,  so  that  his  society  was  in  great  demand. 
He  was  a  courteous  man,  of  particularly  sweet 
disposition,  and  generally  esteemed  by  his  fellow- 
townsmen.  He  died  June  7,  1840,  and  was  buried 
at  Liverpool  in  the  cemetery  at  St.  James's  Mount, 
where,  in  1842,  a  monumental  obelisk  was 
erected  by  a  number  of  his  admirers.  A  litho- 
graph of  this  was  executed  by  W.  CoUingwood. 
Williamson  was  married,  and  his  wife  (Eleanor) 
survived  until  1885.  E.  R.  D. 

WILLICH,  Caesar,  German  painter,  born  in 
1825  at  Frankenthal  in  the  Rheinpfalz  ;  after  study 
at  the  Berlin  Academy  under  Schlesinger,  he 
worked  as  Schom's  pupil  at  Munich  in  1846.  He 
also  studied  in  Belgium,  and  spent  three  years  with 
Couture  in  Paris.  'Then  he  was  for  some  time  in 
Rome  before  settling  at  Munich.  He  painted  a 
portrait  of  Richard  Wagner,  and  among  other 
works  by  him  we  may  mention  :  '  Hexengericht,' 
'  Schlafende  Nymplie,'  '  Bacchante,'  '  Aus  Italien,' 
&c.  He  died  at  Munich,  July  IG,  1886. 
WILLINGEN.  See  Van  der  Willinqen. 
WILLIOT,  LoDis  Adguste  Adolphe,  painter, 
was  born  at  St.  Quentin  in  1829,  and  was  a  pupil  of 
Cogniet.  He  exhibited  landscapes,  chiefly  of  Fon- 
tainebleau  and  its  neighbourhood,  at  the  Salon 
between  1856  and  1865,  in  which  latter  year  he 
died  from  injuries  received  through  the  falling  in 
of  a  ceiling. 

WILLIS,  Browne,  an  English  draughtsman,  was 
born  at  Blandford  in  1682.    He  enjoyed  some  repute 
as  an  artist,  and  was  a  member  of  the  St.  Martin's 
Lane  Academy.     But  he  is  chiefly  remembered  as 
an    antiquary.     He    published    many   antiquarian 
works,  several  with  his  own  illustrations,  notably: 
Surveys  of    the    Cathedrals    of   LlandafI    (1719),   St. 
Asaph    (1720),  Bangor,  and  St.  Davids;  'A  Survey 
of  the  Cathedrals'  (1727-30). 
He  also  made  drawings  of  coins  and  medals  with 
great  accuracy,  and  his  note-book  full  of  such  draw- 
ings is  in  the  possession  of  the  editor  of  this  book. 
He  died  in  17G0. 


PAINTERS  AND  ENGRAVERS. 


WILLIS,  Edmund  Aylbubton,  American  land- 
scape painter  ;  born  at  Bristol,  England,  October 
12,  1808.  Well  known  at  Brooklyn,  U.S.A.,  where 
lie  lived  and  worked.  He  died  there,  February  3. 
1899.  ^ 

WILLIS,  Henry  Brittan,  painter,  was  born  at 
Bristol,  and  was  a  pupil  of  his  father,  a  landscape 
painter  of  little  note,  practising  in  that  town.  After 
a  visit  to  America  in  1842,  the  younger  Willis 
settled  in  London,  where  he  became  well  known 
as  a  painter  of  English  scenery  and  of  cattle,  both 
in  oils  and  water-colours.  He  occasionally  con- 
tributed to  the  Ro3'al  Academy  exiiibitions,  but  the 
greater  number  of  his  works  appeared  at  the  shows 
oftheSociety  of  Painters  in  Water-Colours,  of  which 
body  he  became  an  Associate  in  1862,  and  member  in 
1863.  His  'Group  of  Highland  Cattle  in  Glen  Nevis," 
exhibited  at  the  Centennial  Exhibition  of  1876,  be- 
longs to  the  Duchess  of  Argyll.     He  died  in  1884. 

WILLISON,  George,  a  Scotch  portrait  painter, 
born  in  the  first  half  of  the  18th  century.  After 
studying  at  Rome,  he  practised  in  London,  ex- 
hibiting at  tlie  Society  of  Artists  and  the  Koyal 
Academy  from  1767  to  1777.  He  then  went  to 
India,  where  he  acquired  a  fortune,  though  not  in 
the  practice  of  his  art.  Settling  in  Edinburgh,  he 
died  there  in  1797.  There  is  a  portrait  of  the 
Nabob  of  Arcot,  by  him,  at  Hampton  Court. 

WILLMANN,  Eduard,  a  German  engraver,  born 
in  1820,  was  a  pupil  of  Frommel.  He  engraved 
views  of  Paris,  Heidelberg,  and  Baden,  after  his 
own  drawings;  'Spring-time,'  after Knaus ;  the  '  Four 
Seasons,'  after  Julius  Marak ;  'Ancient  Athens,' 
after  Hoffmann ;  the  Buildings  of  the  Vienna  Ex- 
hibition, after  Feldsoharek.  He  was  Professor  of 
the  Art  School  at  Carlsruhe,  where  he  died  in  1877. 

WILLMANN,  Michael,  whose  name  is  usually 
written  Michiel  Willemans,  was  born  at  Konigs- 
berg  in  1630.  When  young  he  went  to  Amster- 
dam, to  become  the  scholar  of  Jacob  Backer,  but 
afterwards  entered  the  school  of  Rembrandt,  under 
whom  he  studied  several  years  (1650—1654  ?). 
On  his  return  to  Germany,  he  was  much  patronized 
by_  the  Elector  of  Brandenburg,  for  whom  he 
painted  several  large  pictures,  notably  one  of 
'  Vulcan  forging  the  Arms  of  Mars.'  He  was  also 
employed  at  several  other  courts  in  Germany, 
especially  Prague  and  Breslau.  After  returning 
to  Konigsberg  he  entered  a  Cistercian  monastery 
near  Leibus  in  Silesia,  where  he  died  in  1706.  He 
etched  a  few  plates  in  the  style  of  Rembrandt, 
among  them  a  'St.  Joseph.'  There  is  a  portrait  by 
Willniann  in  the  Dresden  Gallery. 

WILLMORE,  Arthur,  engraver,  born  at  Bir- 
mingham, June  6th,  1814,  was  a  younger  brother  of 
J.  T.  Willmore,  and  served  his  apprenticeship  in 
art  under  his  brother.  He  first  exhibited  at  the 
Academy  in  1858.  He  was  a  frequent  contributor 
to  the  'Art  Journal,'  and  engraved  designs  by 
Bartlett,  Brockedon,  Birket  Foster,  Dori5,  W.  Collins, 
and  others,  for  the  illustration  of  books.  Towards 
tlie  close  of  his  life  he  was  afflicted  with  lung- 
disease,  which  caused  the  stooping  over  his  plates 
to  become  increasingly  irksome  and  painful  to  him. 
He  died  November  3rd,  1888.  Among  his  plates 
we  may  mention  : 

Agrippina    landing    the   Ashes   of    Germanicus;  after 

Turner. 
Ancient  Rome ;  after  the  same. 

Eoyal  Vohmteer  Review,  Edinburgh  ;  after  Sam.  Bough. 
Oq  the  Thames  ;  after  David  Cox. 
The  Lord  of  the  Glen  ;  aftir  JR- H'hirter. 
Mount  Edgcumbe  ;  after  Copley  Fielding. 


The  '  Revenge    ;  after  Sir  Oswald  Brierly. 

l)utch  Fishing  Boats  ;  after  E.  W.  Cooke. 

Summer-Time  ;  after  Rubens. 

Fiirm  at  Laeken  ;  after  the  same. 

Young  Shrimpers  ;  after  Collins. 

1-  isher-Boys,  Coast  of  Norfolk  ;  after  the  same. 

WILLMORE,  James  Tibbitts,  was  born  at 
Erdington,  Staffordshire,  on  the  15th  September, 
1800.  He  was  apprenticed  to  William  Radclyffe, 
an  engraver  at  Birmingham.  On  the  expiration 
of  his  time  he  came  to  London,  and  was  employed 
for  three  years  in  the  studio  of  Charles  Heath. 
After  that  bis  independent  career  began.  In 
1843,  the  first  year  he  exhibited  with  the  Royal 
Academy,  he  was  elected  an  associate  engraver.  He 
worked  after  John  Chalon,  Leitch,  Stantield,  Land- 
seer,  and  Turner,  being  especially  successful  with 
the  latter.  Several  plates  in  the  'Rivers  of  France' 
were  by  him.  In  his  last  years  ill  health  made  it 
impossible  for  him  to  pursue  his  art.  He  died  on 
the  12th  March,  1863.  The  following  is  a  list  of 
his  better  plates: 

Kilgarran  Castle  ;  after  Turner. 

Peumaen  M.awr ;  after  the  same. 

Ulleswater  ;  after  the  same. 

Windermere  ;  after  the  same. 

Mercury  and  Argus ;  after  the  same. 

Ancient  Italy ;  after  the  same. 

Oberwesel ;  after  the  saine. 

The  Fighting  Temi^Taire  ;  after  the  same. 

The  Golden  Bough  ;  after  the  same. 

Venice,  Bellini's  picture  carried  to  the  Redeutore;  after 
the  same. 

Crossing  the  Bridge ;  after  Sir  E.  Landseer. 

Byron's  Dream  ;  after  Sir  C.  Eastlake, 

Wind  against  Tide ;  after  Stanfield. 

Harvest  in  the  Highlands  ;  after  Sir  A.  W.  Callcott. 

WILLS,  the  Rev.  James,  painted  about  the 
middle  of  the  last  centurj'.  In  1760  he  exhibited 
a  'Liberality  and  Modesty'  with  the  Society  of 
Artists,  and  in  1761  a  'St.  Peter  returning  from 
Prison.'  He  also  presented  a  large  picture  of 
'Suffer  little  children  to  come  unto  Me,'  to  the 
Foundling  Hospital,  but  failing  to  meet  with  success 
in  art,  he  took  orders,  and  became  first  curate,  and 
afterwards  vicar,  of  Canons,  Middlesex.  He  was 
for  a  time  chaplain  to  the  Chartered  Society  of 
Artists.  In  1754  he  published  a  translation  of  Du 
Fresnoy's  'Art  of  Painting.'     lie  died  in  1777. 

WILLS,  William  Gorman,  painter,  was  born 
in  County  Kilkenny,  Ireland,  in  1828.  He  entered 
Trinity  College,  Dublin,  and  later  studied  art  at 
the  Royal  Hibernian  Academy.  For  some  years 
he  occupied  a  studio  in  London,  and  acquired  some 
reputation  as  a  portrait  painter,  particularly  in 
pastel,  amongst  his  sitters  being  Princess  Louise 
(Duchess  of  Argyll)  and  Princess  Victoria.  In 
1872  he  exhibited  at  the  Royal  Academy  a  portrait 
of  the  Marchioness  of  Bute,  and  in  1874  '  Ophelia 
and  Laertes.'  Several  of  his  portraits  appeared 
at  the  Grosvenor  Gallery.  He  was,  however,  best 
known  as  a  dramatist,  several  of  his  plays  having 
been  performed  by  Sir  Henry  Irving  and  Mr.  and 
Mrs.  Kendal.     He  died  on  Dec.  13,  1891.      M  H, 

WILMOT,  Olive.     See  Seeres. 

WILS,  Jan,  (or  Wilts,)  a  Dutch  landscape 
p.iinter,  was  born  at  Haarlem  about  1600.  Berchem 
married  his  daughter,  and  he  has  the  credit  of 
having  improved  that  master  in  his  style  of  land- 
scape painting,  whilst  the  latter  frequently  embel- 
lished Wils'  landscapes  with  cattle  and  figures. 
These  joint  productions  are  now  attributed  entirely 
to  Berchem  ;  they  may,  however,  be  distinguished 
hy  a  peculiar  green  in  the  vegetation,  and  less  of 

379 


A   BIOGRAPHICAL  DICTIONARY   OF 


freedom  in  the  handling  than  the  real  works  of  that 
master.  Wila  also  imitated  Jan  Both  with  consider- 
able success.  He  died  at  Haarlem  in  16G9  (?) 
There  is  a  '  Rocky  Landscape,'  by  Wils,  with  ligurts 
by  Wouwerman  (?),  in  the  National  Gallery. 

WILSON,  Andrew,  a  Scottish  landscape  painter, 
was  born  at  Edinburgh  in  1780.  He  received  some 
early  instruction  from  Alexander  Nasmyth,  and 
in  1796  came  to  London  and  studied  for  a  short 
time  in  the  schools  of  the  Koyal  Academy.  He 
then  went  to  Italy,  and  spent  a  considerable  time 
at  Rome  and  Naples,  where  he  laid  the  foundation 
of  an  intimate  knowledge  of  the  works  and  style 
of  the  great  masters.  After  a  short  stay  in  London 
in  1803,  he  returned  to  Italy,  and  settled  at  Genoa, 
where  he  was  made  a  member  of  the  Ligurian 
Academy.  In  this  capacity  ho  was  one  of  the 
modern  artists  whose  works  were  inspected  by 
Napoleon.  It  is  said  that  an  envious  brother 
Academician  sought  to  prejudice  Bonaparte,  who 
was  admiring  Wilson's  picture,  by  telling  him  that 
the  author  was  an  Englishman,  and  provoked  the 
dignified  rebuke:  "Le  talent  n'a  pas  de  pays."  At 
Genoa  he  was  chiefly  occupied  in  purchasing 
pictures  of  the  old  masters,  of  which  he  obtained 
no  less  than  fifty-four.  Returning  in  1806,  he 
practised  in  water-colours  for  some  time,  and 
taught  drawing  at  Sandhurst  Military  College. 
In  1818  he  removed  to  Edinburgh  as  master  of 
the  Trustees' School,  where  he  trained  several  good 
artists.  During  this  period  his  works  regularly 
appeared  at  the  Scottish  eshibitions.  But  he  jire- 
ferred  Italy,  and  returned  thither  with  his  wife  and 
family  in  1826.  There  he  spent  the  nest  twenty 
years,  painting  works  inspired  by  Italian  scenery, 
and  aiding  many  collectors  in  their  purchases  of 
pictures.  Those  acquired  by  the  Scottish  Royal 
Institution  were  mostly  selected  by  him,  and  in  this 
manner  he  formed  the  nucleus  of  the  Scottish 
National  Gallery.  He  died  at  Edinburgh  whilst 
on  a  visit  there  in  1848.  There  is  much  refinement 
in  his  style,  and  his  success  in  aerial  effects  obtained 
for  him  in  Italy  the  title  of  the  Scottish  Claude. 
Works  : 

Edinburgli.  S.  Kut.  Gall.  Tivoli.  •) 

>i  „  Hadrian's  Villa.  VOil. 

„  „  Bumtislantl.        J 

London.  S.  Kensi}igton.  Oxford.     1807. 

„  „  Harlech  Castle.  1807.      ^y^ter 

»  Sandhills,     St.     An-  L|,i„,,,. " 
drews.     1820.  <-olouis. 

„  „  Leith  Roads.     1822.   J 

WILSON,  Benjamin,  portrait  painter,  was  born 
at  Leeds  in  1721.  He  came  to  London  when 
young,  and  there  worked  as  a  clerk,  but  practised 
art  in  his  leisure.  Dr.  Berdniore,  master  of  the 
Charterhouse,  took  him  under  his  protection, 
but  it  does  not  appear  that  he  was  regularly 
educated  in  art.  Hudson,  however,  gave  him  some 
assistance,  that  painter,  with  Hogarth,  Lambert, 
and  others,  having  become  acquainted  with  him. 
He  endeavoured  to  introduce  more  relief  and 
chiaroscuro  into  his  pictures  than  had  before  been 
common,  and  his  heads  have  more  warmth  and 
nature  than  those  of  the  generality  of  his  con- 
temporaries. Zoffany  occasionally  painted  dra- 
peries for  him.  From  1748  to  1750  he  worked  in 
Ireland,  but  in  the  latter  year  he  settled  in  London, 
in  Great  Queen  Street,  where  he  is  said  to  have 
made  £1500  a  year  by  the  painting  of  portraits. 
About  the  year  177.3  he  was  appointed  master 
painter  to  the  Board  of  Ordnance,  which  post  he 

380 


retained  till  a  few  years  before  his  death.  He  suc- 
ceeded Hogarth  as  Serjeant  painter  in  1761,  and 
painted  the  King  and  Queen  in  1776.  He  died  at  his 
house  in  Great  Russell  Street,  in  1788.  General 
Sir  Robert  Wilson  was  one  of  his  sons.  He  was 
known  as  an  electrician  and  chemist,  was  elected 
an  P.R.S.  in  1756,  and  published  a  book  entitled 
'Experiments  and  Observations  on  Electricity.' 
In  addition  to  his  numerous  portraits  he  painted  a 
'  Belshazzar's  Feast.'  There  are  several  mezzotints 
after  him  ;  two  represent  Garrick  in  the  characters 
of  Hamlet  and  King  Lear.  Wilson  left  a  few 
good  etchings,  among  them  the  following: 

An  old  Man's  Head,  with  hat,  feather,   and   ruff;  in 

imitation  of  Rem  lira ndt. 
A  small  Landscape.     (,Do.) 
His  own  Portrait. 
'  The  Kepeal,'  a  caricature  published  upon  the  repeal 

of  the  American  Stamp  Act.    It  contains  portraits  of 

the  leading  ministerialists. 

WILSON,  Charles  Heath,  a  clever  painter 
in  water-colour,  and  the  author  of  a  considerable 
number  of  book  illustrations,  several  of  which  he 
etched  himself.  He  was  the  son  of  Andrew  Wilson, 
the  landscape  painter,  and  was  born  in  London  in 
1810.  He  was  a  pupil  of  his  father,  and  travelled 
with  him  for  some  time  in  Italy,  practising  on  his 
return  at  Edinburgh  as  a  teacher  in  the  School  of 
Art,  and  eventually  as  an  architect.  In  1843  he 
became  Director  of  the  Edinburgh  School  of  Art, 
and  in  1848  Head  Master  of  the  Glasgow  School 
of  Design.  While  at  Glasgow  he  had  to  super- 
intend the  filling  of  the  windows  in  the  cathedral 
with  coloured  glass,  and  manj'  of  the  designs  were 
executed  by  him  for  reproduction  on  glass.  In 
1869  his  means  permitted  him  to  relinquish  his 
professional  work  and  to  migrate  with  his  family 
to  Italy,  where  he  settled  down  at  Florence,  and 
commenced  to  write  a  book  on  Michelangelo, 
which  had  been  his  purpose  for  many  years.  This 
work  was  published  in  1876,  and  created  some 
sensation,  especially  in  Italy,  where  its  scholarly 
workmanship  was  rewarded  by  a  higli  mark  of 
distinction.  Wilson  died  at  Florence  in  1882, 
leaving  behind  him  a  family  in  which  almost 
every  member  more  or  less  inherited  artistic 
capability. 

WILSON,  George,  was  born  in  1848,  at  Tochi- 
neal,  a  farm  near  Cullen,  a  fishing  town  on  the 
Banffshire  coast.  Ills  family  were  well  known  in 
the  north-east  of  Scotland.  He  was  educated  at 
the  Gymnasium,  Old  Aberdeen,  under  Dr.  Ander- 
son, afterwards  going  to  the  University  of  Edin- 
burgh. From  childhood  he  was  devoted  to  drawing, 
and  after  leaving  Edinburgh  he  came  to  London 
to  take  up  the  profession  of  an  artist.  He  studied 
at  Heatherley's  studio  in  Newman  Street  for  some 
time.  Later  on  he  entered  '.e  Royal  Academy 
Schools,  but  did  not  long  remain  there,  eventually 
joining  the  Slade  School,  then  under  Mr.  (now  Sir 
Edward)  Poynter.  After  leaving  the  Slade  School 
he  set  up  a  studio  in  London,  but  lived  a  nomad 
life,  visiting  Italy  and  Algeria,  as  well  as  working 
in  Scotland  and  the  south  of  England.  He  was  of 
a  very  modest  and  retiring  disposition,  and  it  was 
solely  on  that  account  that  he  never  obtained  the 
recognition  he  so  well  deserved,  though  his  work 
was  eagerly  sought  after  by  his  friends.  Although 
Wilson  has  no  claim  to  greatness,  he  was  a  delight- 
ful painter,  with  a  great  charm  of  colour  as  well  as 
feeling  and  imagination  in  all  his  work.  Unfor- 
tunately  his  health  failed   him  for   some   years 


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PAINTERS  AND   ENGRAVERS. 


before  his  death,  and  his  sufferings  rendered 
steady  work  an  impossibihty ;  yet  his  tempera- 
ment did  not  allow  him  to  despair,  and  it  is  that 
feeling  of  hope  that  runs  through  all  his  work 
which  gives  it    an  additional  charm. 

His  principal  works  include  '  Asia,'  remarkable 
for  its  charming  primitive  distance  and  the 
wonderful  foreshortening  of  the  face;  'Summer 
and  the  Winds,' a  small  work  in  fenyjei-a  delightfid 
both  in  conception  and  colour;  'Evening  Shades,' 
'  Alastor,'  a  spring  song,  and  '  Arcadia,'  as  well  as 
many  beautiful  water-colour  sketches  and  chalk 
drawings.  Wilson  died  at  Castle  Park,  Huntly, 
Aberdeenshire,  April  1,  1890.  A  few  of  his  pictures 
were  seen  at  tlje  Dudley  Gallery,  the  Institute, 
and  the  New  Water-Colour  Society.  The  power 
and  beauty  of  his  draughtsmanship  are  perhaps 
best  seen  in  his  preliminary  studies.  Two  of  his 
chalk  drawings  from  the  nude  are  in  the  Art 
Library  at  the  Victoria  and  Albert  Museum.  In 
1893  an  exhibition  of  his  work  was  arranged  in 
Aberdeen  by  the  Aberdeen  Artists'  Society  at  their 
ordinary  exhibition,  and  in  October  and  November 
1903  a  more  complete  exhibition  was  held  by  Mr. 
John  Baillie  at  Ijis  Gallery,  1  Prince's  Terrace, 
London,  W.,  when  a  hundred  pictures  and  studies 
were  shown.  J,  B. 

WILSON,  JA5IES,  an  English  mezzotint  engraver, 
was  born  about  1735.  He  worked  in  London,  and 
died  after  1786.     The  following  plates  are  by  him  : 

Master  Skinner  ;    after  F.  Cotes.     1770 ;    and  another, 

dated  1786. 
Lady  Broughton ;  after  Reynolds.    1771. 
Nelly  O'Brien  ;  after  the  same. 
Mrs.  Abington  ;  after  the  same. 
Elizabeth,  Lady  Arran  ;  after  the  saine. 
John  Wilkes  ;  after  Pine.     1764. 
Miss  Nailer  as  Hebe  ;  after  the  same. 
The  Fair  Nun  ;  after  morland. 

WILSON,  John  W.,  an  English  landscape 
painter,  was  born  in  1812.  His  father  was  "Jock  " 
Wilson,  the  marine  painter,  in  whose  vigorous 
style  he  painted  many  pictures.  His  best  work 
is,  however,  to  be  found  in  his  farm-yard  and 
cattle  pictures.  He  died  at  Folkestone,  January 
30,  1875. 

_  WILSON,  John,  (called  "Jock  Wilson,")  a  Scot- 
tish landscape  and  marine  painter,  was  born  near 
Ayr  on  the  13th  of  August,  1774.  He  was 
apprenticed  to  a  well-known  decorator  in  Edin- 
burgh named  Norie,  and  afterwards  received  some 
teaching  in  landscape  from  Alexander  Nasmyth. 
He  settled  for  a  time  in  Montrose,  where  he 
painted  landscapes  and  taught  drawing,  but  about 
1798  he  moved  to  London,  where  he  was  employed 
to  paint  scenery  for  two  or  three  theatres.  In 
1807-1809  he  exhibited  at  the  Royal  Academy. 
He  won  a  premium  from  the  British  Institution 
for  a  '  Battle  of  Trafalgar,'  which  was  afterwards 
bought  by  Lord  Northwick.  Wilson  was  one  of 
the  founders  of  the  Society  of  British  Artists,  and 
one  of  its  most  constant  supporters.  But  although 
domiciled  in  the  south,  he  never  relaxed  his  con- 
nection with  his  northern  brothers  of  the  brush, 
who  had  elected  him  an  honorary  member  of  the 
Scottish  Academy.  His  fine  memory  and  rare 
conversational  powers  made  him  the  centre  of  a 
delighted  circle  wherever  he  went.  His  last  years 
were  spent  at  Folkestone,  where  he  died  on  the 
29th  of  April,  1855.     Works : 

Coast  Scene.     (Scottish  National  Galiery.) 
A  Ferry  Boat.     (Do.) 


Coast  Scene.    (S<mth  Kensington.^ 
Landscape  with  Cattle.     {Glasyow  Gallery.) 

WILSON,  Richard,  a  distinguished  landscape 
painter,  was  born  at  Pinegas,  in  Montgomeryshire, 
August  1,  1714.  He  was  the  son  of  a  beneficed 
clergyman,  who  was  collated  to  the  living  of  Mold, 
in  Flintshire,  soon  after  his  son's  birth.  At  an 
early  period  of  his  life,  young  Wilson  discovered 
a  marked  disposition  for  drawing,  and  was  in  1729 
sent  to  London,  where  he  was  placed  under  the 
tuition  of  Thomas  Wright,  an  obscure  portrait 
painter.  To  this  branch  of  art  Wilson  at  first 
devoted  himself,  and  acquired  a  considerable 
reputation.  After  having  practised  some  years  in 
London,  he  went  to  Italy,  where  he  continued  to 
paint  portraits,  until  a  landscape,  painted  in  his 
leisure  moments,  was  accidentally  seen  by  Zucca- 
relli,  and  caused  that  artist  to  strongly  recommend 
Iiim  to  abandon  portraiture  for  landscape.  The 
French  painter,  Vernet,  was  at  that  time,  too,  in 
Rome,  and  happening  to  visit  Wilson's  painting 
room,  was  so  struck  with  a  landscape  of  his,  that 
he  offered  in  exchange  for  it  one  of  his  own  best 
pictures ;  the  proposal  was  accepted  and  the  pic- 
ture delivered  to  Vernet,  ,who  placed  it  in  his 
exhibition-room,  and  recommended  the  painter  to 
the  attention  oi  i\\e  cognoscenti.  Wilson's  progress 
in  landscape  must  have  been  rapid,  as  he  had 
pupils  in  that  line  while  still  in  Rome,  and  Mengs 
painted  his  portrait,  receiving  a  landscape  in  return. 
During  his  stay  in  Italy  he  travelled  to  Naples 
with  Lord  Dartmouth,  for  whom  he  painted  some 
fine  landscapes.  He  came  back  to  England  in 
1755.  He  was  introduced  by  Thomas  Sandby  to 
the  Duke  of  Cumberland,  for  whom  he  painted  his 
'  Niobe,'  wliich  was  in  tlie  first  exhibition  of  the 
Society  of  Artists,  in  1760.  Wilson,  however,  did 
not  at  once  attain  success,  partly  from  the  inability 
of  the  public  to  recognize  his  merits,  partly  from 
the  jealousy  of  some  among  his  contemporaries, 
and  partly  also  from  his  own  nnconciliatory  dis- 
position. He  lost  the  favour  of  the  Court  by  an 
unfortunate  outburst  of  temper.  Having  painted 
a  view  of  Sion  House  for  the  king,  he  submitted 
it  to  Lord  Bute,  who  objected  to  the  price  demanded 
(sixty  guineas).  Thereupon  the  painter  angrily 
retorted  that  if  the  king  could  not  pay  it  all  at 
once  he  would  take  it  in  instalments.  Although 
he  was  chosen  a  foundation  member  at  the  institu- 
tion of  the  Koyal  Academy  in  1768,  he  had  still 
long  to  struggle  with  poverty.  But  after  the  death 
of  Hayman  in  1776,  lie  became  librarian  to  that 
institution,  and  retained  the  post  until  his  decayed 
health  obliged  him  to  retire.  The  death  of  his 
brother  about  this  time  placed  him  in  possession  of 
a  small  estate  at  Llanberis,  North  Wales,  where  he 
died  in  May,  1782.  It  is  probable  that  had  Wilson 
met  with  warmer  encouragement  his  art  would 
have  been  even  finer  than  it  is.  In  colour,  com- 
position, and  aerial  truth,  few  landscape  painters 
have  equalled  and  none  excelled  him.  It  is  only 
in  a  certain  emptiness,  or  lack  of  material,  that 
they  fall  below  the  level  of  Claude.     Works: 

Dviblin.        Nat.  Gallery.  Landscape. 

Edinburgh.  „  An  Italian  Landscape. 

„                    „  River  scene,  with  figures- 
Glasgow.             Gallery.  Sketch  for  a  landscape. 
„                            „  View  near  Tivoli. 
„                          „  Lake  of  Como. 
„                          „  Scene  on  an  English  river. 
„                            „  The  Convent,  twilight. 
„  Landscape,  with  figures. 

381 


A  BIOGRAPHICAL  DICTIONARY  OF 


London.       Nat.  Gallery.     Ruins  of  Mtecenas' Villa,  Tivoli. 
^  „  Destructionof  Niobe'sChildren. 

^  „  Landscape,  with  figures. 

^  „  Lake    scene,    with    ruin     and 

figures. 
„  „  Ancient  Eoman  Ruin. 

„  „  View  in  Italy,  sometimes  called 

Hadrian's  Villa. 
„  „  Lake  Avernus,  with  the  Bay  of 

Naples. 
„  „  On  the  River  "Wye. 

„  „  Rocky  river  scene. 

„      South  Kensington.  Landscape,    with     river     and 

ruins. 
jj  „  Landscape,  evening. 

„  „  Italian  Landscape,  with  figures 

(Venus,  Adonis,  and  Cupids) 

by  Cipriani.     Signed  R.  W. 
„  „  Landscape,    with    a    bay    and 

ruined  buildings. 
„  „  Italian  river  sceue. 

In  1774  Wilson  painted  a  picture  of  Niagara,  after 
a  drawing.  Some  of  his  best  pictures  have  been 
very  finely  engraved  by  Woollett  (q.  v.).  His  chief 
pupils  were  Josepli  Farington,  R.A.,  and  William 
Hodges,  R.A. 

WILSON,  W ,  an  English  engraver  in  mez- 
zotint, who  flourished  in  the  reign  of  Queen  Anne. 
He  has  left  some  portraits,  among  them  that  of 
the  Countess  of  Newburgh,  after  Dahl. 

WILSON,  William,  engraved  several  land- 
scapes, after  Claude  Lorrain,  Poussin,  and  other 
masters.     They  are  in  line,  and  neatly  engraved. 

WILSON,  William  Charles,  engraver,  was 
bom  about  1750.  He  worked  in  mezzotint,  and 
was  employed  by  Boydell  on  the  'Shakespeare 
Gallery.'  His  plates  were  after  Smirke,  Westall, 
West,  and  Pilleinent. 

WILT.     See  Van  der  Wilt. 

WILTON,  Joseph,  an  English  engraver,  flourished 
about  the  year  1670.  He  engraved  plates  of 
various  subjects  in  a  style  resembling  that  of 
Romeyn  de  Hooghe. 

WILTS.     See  Wils. 

WIMPERIS,  Edmhnd  Monson,  was  the  eldest 
son  of  Edmund  Richard  Wimperis,  and  was  burn 
at  Chester  on  the  6th  of  February,  1835.  Origin- 
ally intended  to  follow  in  his  father's  footsteps,  he 
was  specially  trained  for  a  commercial  life,  and, 
after  leaving  school,  he  entered  the  counting-house 
of  Walker,  Parker  and  Co.,  at  their  lead  works  in 
Chester.  But  having  no  aptitude  for  counting- 
house  routine,  and  his  natural  tastes  lying  very 
obviously  in  the  direction  of  art,  his  father  wisely 
allowed  young  Wimperis  to  follow  his  individual 
bent,  so  at  the  age  of  sixteen  he  reinoved  to  Lon- 
don, and  was  apprenticed  to  Mason-Jackson,  the 
wood  engraver,  for  seven  years,  a  business  at  that 
time  in  the  full  swing  of  its  popularity.  His  first 
efforts  in  original  work  ajipeared  a  little  later, 
when  he  made  some  drawings  on  the  block  which 
were  not  wliolly  successful.  Returning  to  his 
original  craft,  he  joined  one  W.  J.  Palmer  in 
partnership,  and  for  five  years  they  carried  on 
their  business  with  varied  success.  At  that  time 
the  art  of  wood  engraving  was  in  the  very  zenith 
of  its  popularity,  and  Linton,  Dalziel,  Jackson,  and 
Landells  were  illustrating  the  literature  of  the  time 
with  a  brilliancy  and  power  that  had  no  previous 
parallel  and  has  now  completely  died  away.  At 
the  end  of  his  partnership  with  Mr.  Palmer, 
Wimperis  made  another  attempt  at  pencilling  on 
the  block,  and  for  this  venture  Cundall,  the  pub- 
lisher, purchased  all  his   experimental  work,  and 

382 


used  it  in  a  volume  of  Elizabethan  poets.  S.  C 
Hall,  also,  employed  him  on  a '  Guide-Book  to  South 
Wales '  ;  and  he  did  sketching  and  wood-drawing 
for  the  '  Illustrated  London  News,'  and  book  illus- 
trations for  several  other  publications,  including 
Walter  Thornbury's  'Two  Centuries  of  Song' 
(1867),  and  Milton's  '  Ode  on  the  Morning  of 
Christ's  Nativity'  (18G8). 

In  work  of  this  character  Wimperis  found  em- 
ployment for  upwards  of  ten  years  ;  but  having 
made  some  attempts  in  water-colour,  and  being 
subsequently  elected  a  member  of  the  Society  of 
Britisli  Artists,  he  finally  gave  up  drawing  on  the 
wood  block,  and  fell  into  the  rank  of  professional 
landscape  painters.  Persevering  doggedly  in  his 
water-colour  work,  and  having  made  some  mark  in 
that  medium,  he  secured  election  as  an  Associate 
of  the  Institute  of  Painters  in  Water-Colours  in 
1873,  and  was  advanced  to  full  membership  in  the 
following  year.  When  he  joined  the  Society  their 
Gallery  in  Pall  Mall  was  so  cramped  and  inconve- 
nient that  a  number  of  the  younger  men  deter- 
mined to  make  strenuous  eiforts  for  better  quarters, 
and  in  this  movement  Wimperis  was  one  of  the 
leading  spirits.  After  meeting  with  and  overcom- 
ing many  difficulties,  a  company  was  ultimately 
formed,  and  the  new  buildings  nearly  opposite 
Burlington  House  were  erected,  in  which  the 
Society  is  now  so  sumptuously  housed.  Then  a 
movement  was  set  on  foot  for  the  union  of  the  two 
Water-Colour  Societies,  and  in  this,  also,  Wimperis 
was  one  of  the  active  promoters.  But  the  conserv- 
ative spirit  of  the  older  members  was  in  the 
ascendant,  and  the  projected  union  was  suffered  to 
fall  through.  In  the  year  1888  Wimperis  was 
elected  Treasurer  of  the  Society,  and  on  the  death 
of  H.  G.  Hine  in  1895  he  succeeded  to  its  Vice- 
Presidentship,  to  which  office  he  was  subsequently 
re-elected. 

In  no  wise  an  innovator,  but  rather  a  very  sturdy 
and  whole-hearted  adherent  of  the  old  English 
Water-Colour  School — drawing  his  subjects  from 
our  homo  scenery  alone,  and  going  to  nature  and 
only  to  nature  for  his  inspiration — Wimperis  kept  up 
the  tradition  of  those  leaders  of  art  with  whom  he 
was  in  sympathy — Cox  and  De  Wint  in  his  water- 
colours,  and  Constable  and  Miiller  in  his  oil  work 
— although  this  keen  sj'mpathy  with  the  art  of 
greater  men  in  no  wise  dominated  his  individual 
practice,  the  personal  note  being  always  there, 
as  it  must  be  in  the  art  of  all  individual  painters 
who  are  in  touch  with  nature.  His  art  is,  then, 
essentially  national,  and  it  is  an  art  that  has 
imbibed  and  strenuously  carried  on  the  best 
traditions  of  his  school.  Somewhat  limited  in 
range,  he  saw  broadly,  and  recorded  firmly,  and 
with  a  large  full  brush,  the  sober  colour,  the  windy 
skies  and  sweeping  shadows  of  open  country,  in 
his  native  England;  and  these  are  the  qualities  and 
the  limitations  of  much  of  the  landscape  painting 
of  our  present  time,  in  the  simpler  medium  of 
water-colour. 

Wimperis  died  suddenly  of  apoplexy,  on  Christ- 
mas Day  1900  ;  and  his  remaining  drawings  were 
subsequently  sold  at  Cliristie's,  and  fetched  good 
prices.  According  to  Mr.  Algernon  Graves' 
'  Dictionary  of  Exhibiting  Artists,'  Wimperis 
showed  about  three  hundred  works  in  all,  includ- 
ing forty-nine  in  Suffolk  Street,  more  than  a 
hundred  and  seventy  at  the  Institute,  and  at  least 
sixty  in  other  Exhibitions.  H.  W. 

WINCK,  Christoph,  painter  and  etcher,  origin- 


PAINTERS  AND  ENQRAVEBS. 


ally  a  shoemaker,  was  born  at  Eichstadt  in  1738, 
and  studied  art  under  his  brother,  Chrisostomcs 
WiNCK.  Christoph  painted  scenes  for  the  court 
theatre  at  Vienna,  and  was  occupied  on  altar-pieces 
and  other  pictures  for  a  number  of  Bavarian 
churches.  In  1769  lie  became  court  painter  to 
the  Elector  of  Bavaria,  and  in  the  following  year 
assisted  in  founding  tlie  school  of  design  at  Munich 
which  developed  afterwards  into  the  Academy.  He 
died  in  1797. 

WINDHAM,  Joseph,  an  amateur  draughtsman, 
was  born  at  Twickenham  on  the  21st  of  August, 
1739.  He  was  educated  at  Eton  and  Christ's 
College,  Cambridge,  where  he  became  an  excellent 
scholar.  He  travelled  and  made  many  draw- 
ings in  France,  Italy,  Istria,  and  Switzerland,  and 
worked  long  at  measuring  the  ruins  of  ancient 
Rome.  Many  of  his  plans  and  sections  are  en- 
graved in  Cameron's  book  of  the  Roman  Baths. 
He  himself  wrote  most  of  the  letter-press  in  the 
second  volume  of  the  Dilettanti  Society's  '  Ionian 
Antiquities.'  He  died  on  the  •2lBt  of  September, 
1810. 

WINDLER  (or  Windteb).     See  Winter. 

WINGANDORP,  F.,  was  a  native  of  Germany, 
and  flourished  about  the  year  1672.  He  engraved 
several  frontispieces  and  other  plates  for  books. 

WINGE,  Marten  Eskil,  Swedish  painter,  born 
at  Stockholm,  September  21,  1825  ;  studied  at  the 
Stockholm  Academy  after  employment  in  the  post- 
ofBce  ;  he  subsequently  completed  his  art  education 
at  Diisseldorf,  and  in  Paris,  where  Couture  was  liis 
master.  He  visited  Pome  and  Munich  before 
returning  to  Stockholm,  where  he  became  Professor 
at  the  Academy,  and  was  appointed  Court  painter 
in  1864.  He  is  also  known  as  a  book  illustrator, 
and  he  supplied  plates  to  QShlenschlager's  '  Nor- 
dische  Gotter.'  His  works  include  '  Loke  and 
Sigyn '  (in  the  Stockholm  Museum),  '  Ingeborg,' 
'  Der  Friedensgruss,'  and  one  or  two  altar-pieces. 
He  died  at  Stockholm,  April  23,  1896. 

WINGFIELD,  James  Digman,  an  English  land- 
scape, historical,  and  subject  painter,  was  born  in 
the  early  part  of  the  19th  century.  He  practised  in 
London,  and  his  pictures  appeared  in  large  numbers 
at  the  Royal  Academy,  the  British  Institution,  and 
the  Society  of  British  Artists,  between  1832  and 
1872.  He  died  in  the  latter  year,  and  the  works 
remaining  in  his  studio  were  sold  at  Christie's  in 
July  1873. 

WINGFIELD,  Lewis  S.,  the  youngest  son  of 
Viscount  Powerscourt  by  Lady  Frances,  eldest 
daughter  of  the  Eai  1  of  Roden,  born  in  1842,  and 
educated  at  Eton  and  in  Germany.  This  particu- 
larly charming  man  was  all  his  life  in  delicate 
health,  and  although  a  person  of  some  considerable 
genius,  was  so  versatile  and  so  capricious,  that  he 
was  never  able  to  execute  anything  of  iirst-rate 
importance.  As  an  artist  he  had  very  considerable 
capability  and  a  highly-developed  sense  of  colour. 
He  exhibited  half-a-dozen  pictures  at  the  Royal 
Academy  between  1869  and  1876  ;  he  will  be 
remembered  especially  for  his  skill  and  knowledge 
of  costume.  He  was  responsible  for  the  costumes 
on  the  occasion  of  the  performance  of  '  Roineo 
and  Juliet'  for  Mary  Anderson,  and  'Antony  and 
Cleopatra'  for  Mrs.  Langtry,  and  seldom,  if  ever, 
have  more  beautiful  costumes  been  seen  on  the 
stage  than  those  he  designed.  In  1884  he  gave  a 
series  of  lectures  on  English  costume,  illustrating 
them  by  his  own  hand.  He  was  a  clever  actor, 
and  on  several  occasions  played  at  the  Haymarket. 


He  acted  as  a  war  correspondent  through  the 
Franco-German  War,  and  on  that  occasion  speci- 
ally studied  surgery,  and  qualified  himself  as  a 
surgeon,  in  order  to  be  able  to  assist  the  wounded. 
In  1884  he  took  somewhat  the  same  sort  of  position 
with  regard  to  the  English  army  in  the  Soudan. 
He  travelled  in  India  and  in  China,  he  practised 
as  a  novelist,  issuing  about  twenty  volumes,  he 
wrote  several  articles  for  English  journals  on  little- 
known  phases  of  life,  spending  part  of  his  time  in 
a  madhouse,  a  prison,  a  workhouse,  and  on  the 
sands  as  a  negro  minstrel,  in  order  to  understand 
these  phases  of  life.  He  wrote  dramas  and  songs, 
he  played  various  instruments  of  music,  he  collected 
curiosities,  and  he  painted  panoramas — his  life,  in 
fact,  heiug  a  series  of  changes  and  vicissitudes. 
He  quickly  wearied  of  everything  that  he  took  in 
hand,  and  never  bestowed  sufficient  pains  upon 
any  woik  to  give  it  the  superlative  excellence 
which  his  ability  would  have  permitted  him  to 
supply.  He  was  a  very  popular  man  in  society, 
but  to  the  last  boyish  in  all  his  ways,  full  of 
sentiment  and  romance,  and  overflowing  with 
enthusiasm  for  his  latest  diversion.  His  health 
towards  the  latter  part  of  his  life  almost  entirely 
broke  down,  and  a  journey  to  Australia  did  him 
but  little  good.  He  married  in  1868  the  daughter 
,of  Lord  Castletown,  and  he  died  in  1891.  At  the 
Royal  Academy  in  London  he  exhibited  '  Doomed  ' 
in  1870,  '  Puzzled '  in  1874,  and  '  By  the  Waters  of 
Babylon'  in  1875;  but  afterwards  showed  con- 
stantly at  the  Royal  Hibernian  Academy,  of  which 
he  became  a  member.  His  character  was  one  of 
-singular  attraction,  and  his  affection  for  his  friends 
was  very  remarkable.  Few  people  had  the  strength 
of  mind  sufficient  to  scold  him,  and  yet  all  who 
knew  him  intimately  regretted  that  he  was  so 
capricious  and  unstable.  He  was  intensely  be- 
loved by  the  few  people  who  had  his  confidence, 
and  their  admiration  for  his  geidus  was  very 
marked.  Q.  c.  W. 

WINGHE,  (WiNGHEN,)  Jeremias  van,  painter, 
was  born  at  Frankfort  in  1587.  He  was  the  son 
and  pupil  of  Joost  Winghe,  and  also  studied  under 
Frans  leadens  at  Antwerp.  He  eventually  went  to 
Rome,  where  he  practised  successfully,  painting 
historical  and  genre  pictures,  and  returning  to  his 
native  city  in  the  later  years  of  his  life,  he  there 
became  well  known  as  a  portrait  painter.  Some  of 
his  pictures  are  in  the  Gallery  at  Diisseldorf  The 
subjects  and  the  marks  resemble  those  of  his 
father,  and  probably  have  caused  some  confusion 
in  the  accounts  of  both.     He  died  in  1648. 

WINGHE,  JoDocus,  Joost,  or  Joas,  (Winghen, 
orWiNGEN,)  historical  painter,  was  born  at  Brussels 
in  1544.  He  went  young  to  Italy,  and  after  four 
years'  study  in  Rome  (where  he  resided  with  a 
cardinal),  returned  to  Brussels,  and  was  appointed 
principal  painter  to  the  Prince  of  Parma.  In  1584 
he  settled  in  Frankfort,  where  he  painted  an  allegory 
of  the  Netherlands,  as  a  naked  woman  chained  to 
a  rock,  with  Time  flying  to  deliver  her.  '  The  Last 
Supper'  (Church  of  S.  G^ry,  Brussels),  'Samson 
being  shorn  of  his  Locks,'  'Andromeda,'  and 
'  Apelles  painting  Campaspe '  (Vienna  Gallery), 
were  also  among  his  subjects.  The  portrait  of  a 
female  member  of  the  Von  Stalburg  family  is  in 
the  Staedel  Institute  at  Frankfort.  He  also  designed 
forty-nine  subjects  for  engravers  and  tapestry 
weavers.     He  died  at  Frankfort  in  1603. 

WINKEL,  Therese  ads  dem,  born  at  Weissenfels 
about  1784,  was  the  daughter  of  a  Saxon  officer, 

383 


A  BIOGRAPHICAL  DICTIONARY  OF 


and  distinguished  herself  as  a  painter  as  well 
as  by  her  playing  on  the  harp  and  her  powers 
of  elocution.  She  confined  herself  chiefly  to 
copies. 

WINKLER,  Georg  Friedrich,  painter,  was 
bom  at  Dresden  in  1772.  He  was  the  son  of  a 
well-known  theatrical  machinist,  and  was  brought 
up  as  a  scene-painter.  After  some  study  in  Vienna, 
he  was  appointed  court  scene-painter  at  Dresden 
in  1800,  and  in  1815  to  a  like  post  at  Berlin.  He 
published  a  book  on  his  art,  and  died  in  1837. 

WINNE,  LifiviN  DE,  born  in  Ghent  in  1832, 
studied  under  F(51ix  de  Vigne,  and  became  one  of 
the  best  Belgian  portrait  painters  of  his  time. 
He  also  painted  religious  pictures,  but  -with  less 
success.  He  died  in  1880.  His  portrait  of  King 
Leopold  I.  of  Belgium  is  in  the  Brussels  Museum. 

WINSTANLEY,  Hamlet,  engraver,  born  in 
1700,  at  Warrington,  was  the  nephew  of  Henry 
Winstanley,  and  was  designed  for  a  painter.  With 
that  intention  he  was  placed  under  the  tuition 
of  Sir  Godfrey  Kneller,  and  produced  some  por- 
traits, including  those  of  tlio  Bishop  of  Chester 
and  of  himself  with  his  wife.  On  leaving  his 
master  he  went  to  Italy,  where  he  resided  some 
years,  and  after  his  return  to  England  applied 
iiimself  entirely  to  engraving.  He  etched  a  set 
of  twenty-five  plates  from  pictures  in  the  col- 
lection of  the  Earl  of  Derby,  by  Titian,  Tinto- 
retto, Paolo  Veronese,  Bassano,  Guido,  Castig- 
lione,  Spagnoletto,  0.  Maratti,  Rubens,  Van  Dyck, 
Rembrandt,  and  others  ;  these  were  published  as 
'  The  Knowsley  Gallery.'  He  also  engraved  a  set  of 
prints  from  the  paintings  by  Sir  James  Thornhill, 
in  the  cupola  of  St.  Paul's.  He  died  in  1761, 
probably  at  Warrington.  His  own  portrait,  en- 
graved in  vol.  iii.  of  Walpole,  is  at  Knowsley. 

WINSTANLEY,  Henry,  who  is  noticed  here  as 
an  etcher,  was  the  architect  who  projected  and 
built  the  first  Eddystone  lighthouse,  .and  perished 
with  it  when  it  was  destroyed  by  a  storm  in  1703. 
In  1694  he  was  clerk  of  the  works  at  Audley  End, 
of  which,  in  1688,  lie  etched  a  series  of  views. 
These  he  dedicated  to  James  II.,  adding  an  in- 
scription in  honour  of  Sir  Christopher  Wren.  They 
are  now  very  scarce,  but  are  generally  included 
in  the  five-volume  edition  of  Kijj's  Views,  in  which 
is  also  found  a  very  large  plate  of  the  Eddystone 
lighthouse.  The  inscription  beneath  runs,  "This 
Draught  was  made  and  engraven  by  Henry  Win- 
stanley of  Littlebury,  Gent,  and  is  sold  at  his 
Water-works  ;  where  also  is  to  be  seen  at  any 
time  y'  modle  of  y'  said  Building  and  principal 
Rooms,  for  sixpence  a  peice." 

WINSTON,  Charles,  an  amateur  of  stained 
glass,  was  born  at  Farningham,  Kent,  in  1814. 
At  his  death,  which  occurred  on  the  3rd  of  October, 
1864,  he  left  to  the  nation  a  large  collection  of 
copies  in  water-colour  from  painted  windows. 

WINT.     See  De  Wint. 

WINTER,  Abraham  Hendrik,  a  Dutch  painter, 
the  pupil  of  P.  C.  Wonder,  was  born  at  Utrecht  in 
1800,  and  died  at  Amsterdam  May  28,  1861.  In 
the  Rijks  Museum  at  Amsterdam  there  is  a  '  Sheep- 
fold  '  by  him. 

WINTER.     See  De  Winter. 

WINTER,  Johann  Georg,  was  born  at  Groe- 
ningen  in  the  Netherlands  in  1707,  his  father  being 
an  officer  of  the  Bavarian  army  in  garrison  there. 
He  studied  under  Miiller  and  Engelhard,  at  Munich, 
and  painted  portraits  both  there  and  at  Augsburg. 
In  1744  he  became  court  painter  to  the  Emperor 

384 


Charles  VII.,  and  afterwards  painted  some  frescoes 
for  the  Elector  of  Cologne  at  his  summer  palace 
in  the  neighbourhood  of  Bonn.  He  died  there  in 
1770. 

WINTER,  Johann  Wilhelm,  (Windleb,  or 
WiNDTEB,)  an  engraver,  was  born  at  Nuremberg 
about  1696,  and  died  in  1765.  He  engraved  the 
portraits  of  Sophie  Elizabeth,  Countess  of  Reuss- 
Plauen,  after  Miiller ;  of  J.  W.  von  Imhoff,  after 
Decker ;  and  a  few  others. 

WINTER,  Joseph  Georo,  (or  Wintteb,)  a 
draughtsman  and  engraver  of  animals,  was  bom 
at  Munich  between  1720  and  1730.  He  was  the 
son  and  pupil  of  Johann  Georg  Winter,  and  his 
first  works  were  cartoons  for  the  Munich  tapestry 
factory.  He  subsequently  abandoned  painting  and 
devoted  himself  to  engraving,  etching,  and  design- 
ing in  Indian  ink,  taking  for  his  models  Ridinger 
and  Hollar.  His  favourite  subjects  were  hunting 
pieces.  He  died  in  1789.  He  published  a  number 
of  plates  from  his  own  designs  and  after  Melehior 
Roos,  Teniers,  Peter  van  Laar,  Berchem,  Wouwer- 
man  and  other  masters. 

WINTER,  Rafael,  (orWiNTXER,)  painter, etcher, 
and  lithographer,  son  of  Joseph  Georg  Winter,  was 
born  at  Munich  in  1784.  His  father  dying  while 
lie  was  but  a  child,  his  step-father,  Mettenleiter, 
trained  him  in  art.  He  painted  and  etched  animals. 
He  visited  Italy,  and  started  a  lithographic  estab- 
lishment in  Rome,  and  afterwards  became  Director 
of  the  Royal  Lithographic  Institute  of  Bavaria. 
He  died  in  1852. 

WINTERFELDT,  Friedrich  Wilhelm  von, 
German  painter,  born  at  Dinslaken,  August  23, 
1830.  From  1850  to  1853  he  was  an  officer  in  a 
Prussian  cavalry  regiment,  but  after  study  with 
H.  Gude  and  travel  in  the  Teutoburger  Wald  and 
the  Bavarian  Alps  he  became  a  professional  artist, 
painting  graceful  and  sentimental  landscapes,  such 
as  'Chieaisee,'  '  Mondaufgang  bei  Constanz,'  &c. 
He  died  at  Dusseldorf,  June  16,  1893. 

WLNTER6ERST,  Joseph,  was  born  at  Waller- 
stein  in  1783,  and  became  teacher  of  drawing  in 
the  canton  school  at  Aarau,  and  afterwards  pro- 
fessor at  Ellvangen.  He  painted  Biblical  scenes 
and  subjects  of  romantic  genre.  Both  in  teaching 
and  practice  he  strove  to  counteract  ths  influence  of 
the  French  school,  and  to  inculcate  the  principles 
of  the  great  Italian  masters.  He  was  appointed 
Director  of  the  Gallery  at  Diisseldorf,  and  died 
there  in  1867. 

WINTERHALTER,  Franz  Xaver,  painter  and 
lithographer,  was  born  at  IMenzenschwand,  near 
St,  Blasien,  in  the  Black  Forest,  April  20,  1806. 
After  studying  engraving  for  a  time  at  Freiburg, 
he  went  in  1823  to  Municli,  where  he  received  some 
instruction  from  Stieler  in  portrait  painting,  work- 
ing meantime  in  Piloty's  lithographic  institute  to 
support  Iiimself  during  his  novitiate.  In  1828  he 
moved  to  Carlsriihe,  and  a  successful  portrait  of 
the  Grand  Duke  Leopold  put  him  on  tlie  road  to 
fortune.  He  was  appointed  painter  to  the  court, 
and  was  now  enabled  to  make  journeys  to  France 
and  Italy  for  his  further  improvement.  In  1834 
he  settled  in  Paris,  making,  however,  constant 
journeys  to  foreign  capitals  as  his  position  as  a 
fashionable  portrait  painter  became  assured.  He 
painted  many  European  royalties  and  distinguished 
persons,  and  his  meretricious  and  mediocre  art 
soon  achieved  a  vogue  greatly  above  his  merits. 
He  has  been  compared  with  Lawrence,  to  whom, 
both  in   career  and  onivre,  he  affords  a  parallel 


FRANZ   XAVER  WINTERHALTER 


Neiirdein  photo] 


\_l^ersames  Gallery 


QUEEN  MARIE  AMKLIE 


PAINTERS  AND  ENGRAVERS. 


on  a  lower  plane.  Winterbalter's  merits  are  to 
be  looked  for  in  his  composition  and  organization, 
and  in  his  power  to  suggest  the  superficial 
elegance  of  an  aristocratic  sitter.  Among  his 
numerous  portraits  the  most  famous  were  those 
of  Louis  Philippe,  Queen  Amdlie,  and  all  the 
members  of  the  Orleans  family  ;  Napoleon  III., 
the  Empress  Eugenie,  and  the  Prince  Imperial 
(exhibited  at  the  Salon  of  1864);  the  Empress 
Eugenie  and  her  Court,  the  Grand  Duchess  Helen 
of  Russia,  King  Leopold,  Queen  Victoria  and  her 
family,  Prince  Metternich,  the  Emperor  Francis 
Joseph,  etc.  He  also  painted  a  few  genre  pictures 
and  landscapes,  chiefly  Italian,  and  executed  some 
engravings  and  lithographs.  A  few  days  before 
his  death  he  made  a  will,  in  which  he  directed  that 
twelve  pictures  he  had  never  shown  should  remain 
in  a  box  in  which  he  had  secured  them  until  fifty 
years  after  his  death,  when  they  were  to  be  sub- 
mitted to  the  verdict  of  a  generation  free  from 
personal  bias  for  or  against  him.  His  wishes  were, 
however,  disregarded,  and  the  case  was  found  to 
contain,  besides  several  landscapes  and  flower- 
pieces,  two  battle-scenes  from  the  Austro-German 
war  of  1866,  a  portrait  of  Pauline  Viardot  Garcia, 
one  of  Queen  Caroline  of  England,  painted  from  a 
miniature  in  the  Brunswick  Museum,  and  a  portrait 
of  Prince  Clement  Metternich  in  his  garden  at 
Johannisberg,  with  this  inscription :  "  I  painted 
this  portrait  in  1858.  I  was  so  pleased  with  it 
that  I  resolved  to  keep  it."  Two  of  the  land- 
scapes were  scenes  from  the  Isle  of  Wight.  He 
died  at  Frankfort,  July  8,  1873.  His  full-length 
of  the  Prince  Consort  is  in  the  National  Portrait 
Gallery. 

WINTERHALTER,  Johann,  was  born  at 
Vohrenbach  in  the  Black  Forest  in  1743,  and 
worked  for  a  time  at  Olmiitz  with  his  uncle,  Joseph 
Winterhalter,  a  sculptor.  He  afterwards  studied 
under  Stern  at  Bninn,  and  under  Maulpertscli.  He 
worked  in  fresco,  oil,  and  miniature,  but  his  chiif 
works  were  altar-pieces  and  other  jiictures  for 
churches.  He  also  excelled  in  architectural  studies. 
He  died  at  Znaim,  in  Moravia,  in  1807. 

WINTOUR,  John  Crawford,  landscape  painter, 
born  in  1825,  was  an  Associate  of  the  Royal  Scottish 
Academy.     He  died  at  Edinburgh,  July  29,  1882. 

WIRTZ,  JoiiANN,  (or  WlEZ,)  designer  and  en- 
graver, was  born  at  Zurich  in  1640.  He  lost  one 
eye  when  quite  young,  but  took  with  avidity  to 
drawing,  and  became  a  scholar  of  Konrad  Meyer. 
Portrait  painting  was  his  profession,  but  lie  is 
remembered  rather  for  the  etchings  produced  in 
his  leisure  hours,  especially  for  a  set  of  forty-two 
original  plates  for  a  book  written  by  himself,  entitled 
'  Johannis  Wirzii  Romaa  Animale  Exemplium,'  &c., 
published  in  1677.  They  are  etched  in  a  neat  style, 
resembling  that  of  J.  W.  Baur.  He  also  etched 
Michelangelo's  '  Last  Judgment,'  and  two  plates 
after  Holbein,  one  a  woman  with  a  naked  child 
holding  an  arrow,  the  other  a  woman  with  two 
children.     He  died  at  Zurich  in  1710. 

WISLICENUS,  Hermann,  German  painter,  born 
at  Eisenach,  September  20,  1825  ;  became  a  pupil 
of  the  Dresden  Academy,  where  he  studied  under 
Bendemann  and  Schnorr  ;  subsequently  he  went 
for  purposes  of  study  to  Rome,  and  then  became  a 
Professor,  first  at  Weimar  and  afterwards  at 
Diisseldorf  His  chief  work  was  that  of  decorating 
the  walls  of  the  Goslar  Kaisersaal  with  dull  and 
uninspired  compositions.  He  also  decorated  the 
Treppenhaus   of    the   Weimar  Museum   and   the 

VOL.  V.  CO 


Schlosskapelle,  and  examples  of  his  work  are  in  the 
Berlin,  Dresden,  and  Leipzig  Galleries.  He  died 
at  Goslar,  September  28,  1885. 

WISNIEWSKI,  Oscar,  German  historical  and 
genre  painter,  born  at  Berlin,  December  3,  1819  ; 
largely  self-taught,  although  he  studied  at  the 
Berlin  Academy,  and  also  in  Italy  and  Paris. 
Among-  his  works  we  may  mention  :  '  Edelknabe 
und  Miidchen '  (in  the  Berlin  National  Gallery), 
'  Heimkehr,'  'Napoleon  und  Konig  Wilhelm  nach 
der  Schlacht  bei  Sedan.'  He  also  worked  in 
lithography  and  drew  on  the  wood.  He  was  a 
member  of  the  Berlin  Academy.  He  died  at  Berlin, 
August  10,  1891. 

WISSING,  WiLLEM,  was  born  in  1656  at 
Amsterdam,  but  was  a  pupil  of  Willem  Doudyns 
at  the  Hague.  He  afterwards  visited  Paris  and 
England.  He  was  for  some  time  assistant  to 
Sir  Peter  Lely,  after  whose  death  he  became  a 
favourite  with  English  patrons.  He  painted  all 
the  Royal  Family,  and  particularly  the  Duke  of 
Monmouth,  whose  portrait  he  often  repeated. 
Although  he  soon  found  a  formidable  rival  in  Sir 
Godfrey  Kneller,  he  still  was  extensively  emplo3'ed, 
and  after  the  death  of  Charles  II.  was  appointed 
principal  painter  to  his  successor,  by  whom  he  was 
sent  into  Holland  to  take  the  portraits  of  William 
and  Mary.  He  did  not  long  survive  his  return  to 
England,  but  died  in  1687  at  Burleigh,  the  seat  of 
the  Earl  of  Exeter,  whose  portrait  he  had  been 
painting.  John  Smith  scraped  a  mezzotint  after 
Wissing's  portrait  of  himself.  It  is  inscribed  Gu- 
lielmus  IVissingus  inter  pictores  sui  sceculi  celeber- 
rimus,  nulli  secimdus,  artis  suce  non  exirjuimi 
decns  et  ornamentwn,  immodicis  brevis  est  cetas. 
Works : 

Hamptou  Court.  Mrs.  Knott. 

„  Duchess  of  Somerset  (?). 

„  Queen  Mary  II. 

„  Mrs.  Lawson. 
Londou.  yat.  Port.  Gall.     Lord  Cutts. 

„  „  Duke  of  Moumouth. 

„  „  Prince  George  of  Denmark. 

„  „  Mary  of  Moilena. 

„  „  Queen  Mary  II. 

WISZANIE.     See  Witzani. 

WIT  (or  WiTTE).     See  De  Wit  (or  De  Witte). 

WITDOECK,  Jean,  (Witdouck,  or  Withouc,) 
a  Flemish  engraver,  was  born  at  Antwerp  in  1604. 
He  worked  under  the  immediate  eye  of  Rubens, 
after  whom  he  engraved  several  plates.  He  also 
translated  the  works  of  Cornelis  Schut,  and  other 
masters.  The  time  of  his  death  is  unknown.  The 
following  are  his  best  plates  : 

Melchizedeck  presenting  Bread  and  Wine  to  Abraham  ; 

after  Euieiis.    1638. 
The  Nativity.    Eetouched  and  improved  by  Bolswert. 

{Do.) 
The  Adoration  of  the  Magi.     {Do.) 
The  Elevation  of  the  Gross,  in  three  sheets    {Do.)  1638. 
Christ  with  the  two  Disciples  at  Emmaus.    {Do.)    1638. 
The  Assumption  of  the  Virgin.    {Do.)     1639. 
The  Holy  Family,  with  St.  John.     {Do.) 
Holy  Family,  with  St.  Elisabeth  and  St.  John.    (Do.) 
St.  Ildefonso.     {Do.) 
St.  Cecilia.   Eetouched  and  improved  by  Bolswert.  {Do.} 

WITHERINGTON,  William  Frederick,  land- 
scape and  figure  painter,  was  born  in  London  on 
the  26th  of  May,  1785.  Brought  up  to  business 
by  his  father,  he  at  first  attempted  to  combine  it 
with  the  work  of  a  student  at  the  Royal  Academy. 
At  last,  however, he  abandoned  "  the  city"  for  art, 
and  in  1811  exhibited  both  at  the  Academy  and 

385 


A  BIOGRAPHICAL  DICTIONARY  OF 


the  British  Institution.  His  earlier  works  were 
landscapes  witli  figures,  but  as  time  went  on  the 
figures  encroaclied  upon  the  landscape,  until  his 
subjects  became  almost  purely  genre.  Weak  health 
led  him  to  desert  London  for  the  country,  and 
thence,  in  1836,  he  sent  to  the  Academy  a  'Hop 
Garden,'  which  now  well  represents  him  at  South 
Kensington.  The  pictures  by  Witheriugton,  which 
used  to  hang  with  the  rest  of  the  Vernon  group  in 
Trafalgar  Square,  have  been  banished  to  the  pro- 
vinces.    He  died  April  10,  18C5.     Works : 

London.     5.  Kensington.     The  Hop  Garden. 
Nottingham.       Museum.     The  Cover  Side  (landscape  by 

Lee). 
Oldham.  Gallery.     The  Hop  Garland. 

Warrington.         Gallery.     The  Stepping  Stones. 

WITHOOS,  Trans,  was  the  youngest  son  and 
scholar  of  JIathias  Withoos,  and  painted  plants 
and  insects  in  water-colours,  in  the  style  of  his 
brother  Pieter,  to  whom,  however,  he  was  very 
inferior.  He  visited  Batavia,  where  the  governor 
employed  him.     He  died  at  Hoorn  in  1705. 

WITHOOS,  Johannes,  eldest  son  of  Mathias 
Withoos,  was  born  at  Amersfort  in  1648,  and  was 
taught  by  his  father  until  he  was  able  to  under- 
take a  journey  to  Italy  on  the  produce  of  his 
talents.  During  a  residence  of  several  years  at 
Rome,  he  painted  the  most  picturesque  views  in 
that  vicinity,  in  water-colours.  Though  he  met  with 
encouragement  at  Rome,  he  returned  to  Holland, 
where  his  works  were  not  less  popular.  He  was 
afterwards  invited  to  the  court  of  the  Duke  of 
Saxe-Lauenburg,  in  whose  service  he  remained 
until  his  death  in  1695. 

WITHOOS,  Mathias,  (or  Matthaus,)  was  born 
at  Amersfort  in  1627,  or  1629,  and  was  for  six 
years  a  scholar  of  the  architect  Jacob  van  Kampen. 
On  leaving  that  master  he  travelled  to  Italy  in 
company  with  Otto  Marcellis,  and  instead  of  pur- 
euing  the  line  of  art  in  which  he  had  been  trained, 
adopted  that  of  bis  companion,  and  distinguished 
himself  as  a  painter  of  curious  plants,  reptiles,  and 
insects.  During  a  residence  of  two  years  in  Rome, 
he  was  much  employed  by  the  Cardinal  de'  Medici. 
On  his  return  to  Holland,  in  1650,  his  works  soon 
won  popularity.  The  approach  of  the  French  in 
1672  induced  him  to  retire  into  North  Holland. 
He  settled  at  Hoorn,  and  there  he  died  in  1703. 
His  daughter,  Alida,  worked  in  her  father's  manner. 

WITHOOS,  Pieter,  the  second  eon  of  Mathias 
Withoos,  was  bom  in  1654,  and  received  his  first 
instruction  in  art  from  his  father.  He  excelled  in 
painting  flowers,  plants,  and  insects,  in  water- 
colours,  on  vellum.    He  died  at  Amsterdam  in  1693. 

WITKAMP,  Ernest  SiGiSMDND,  Dutch  historical 
and  genre  painter,  bom  at  Amsterdam,  March  13, 
1854,  and  became  a  pupil  of  the  Academy  there  ; 
he  was  also  appointed  Curator  of  the  Fodor 
Museum  at  Amsterdam.  A  picture  by  him  en- 
titled '  In  den  Feldern '  is  in  the  Rijks  Museum. 
He  died  at  Amsterdam  in  1897. 

WITTE.     See  De  Witte. 

WITTEL,  Kaspar  van,  (usually  called  Vanvi- 
TELLi,  or  Vanvitel,  also  Degli  Occhiali,  and  Pic- 
TOORS,)  was  born  at  Utrecht  in  1674.  He  was  a 
pupil  of  Mathias  Withoos,  but  went  when  young 
to  Italy,  (where  he  Italianized  his  name,)  and  then 
painted  landscapes  and  architectural  subjects.  In 
Naples  he  obtained  the  patronage  of  the  Spanish 
Regent,  but  after  the  revolution  there  he  departed 
to  Rome.     He  has  painted  views  in  the  latter  city, 

386 


as  well  as  in  other  cities  and  seaports  of  Italy, 
with  a  precision  approaching  to  those  of  Venice  by 
CaD:detto.     He  died  at  Rome  in  1736. 

WITTIG,  Bartolome,  was  born  at  Oels,  in 
Silesia,  about  1610.  He  excelled  in  painting 
festivals,  concerts,  and  night  pieces,  and  died  at 
Nuremberg  in  1684. 

WITTKAMP,  Jean  Bernard,  Belgian  historical 
painter,  born  September  29,  1820,  at  Riesenbeck, 
Westphalia  ;  began  to  study  drawing  at  the  age 
of  ten  when  at  Delft,  working  afterwards  with 
Schmidt  at  Rotterdam,  and  De  Keijser  at  the 
Antwerp  Academy.  He  also  visited  France,  Italy, 
Switzerland,  and  Germany,  with  a  view  to  com- 
plete his  art  training.  His  'Gefangenwarter'  is  in 
the  Ghent  Museum.  He  obtained  medals  at 
Brussels,  Bruges,  London,  and  the  Hague,  being 
appointed  honorary  member  of  the  Amsterdam 
and  Philadelphia  Academies.  He  died  at  Amster- 
dam in  June  1885. 

WITTMER,  JoHANN  Michael,  German  painter, 
born  October  15,  1802,  at  Murnau,  Bavaria.  He 
was  at  first  a  goldsmith  by  trade,  but  became  a 
pupil  of  Danger's  at  the  Munich  Academy.  In 
1826  he  painted  an  altar-piece  for  a  church  at 
Isseldorf,  and  helped  to  complete  the  frescoes  in 
the  Glyptothek  and  the  Odeon  at  Munich.  In 
1828  he  went  to  Rome.  For  Prince  Max  of 
Bavaria  he  copied  Bazzi's  '  Alexander's  Marriage,' 
and  travelled  with  his  patron  througli  Sicily, 
Greece,  Turkey,  and  the  East.  His  '  Anbetung 
der  Hirten'  is  in  the  Munich  Pinakothek.  He  died 
at  Rome,  May  9,  1880. 

WITZ,  Conrad,  of  Rottweil,  probably  one  of  the 
painters  who  were  invited  to  come  to  Basel  to  adorn 
the  churches  and  other  buildings  in  honour  of  the 
Council,  to  which  prelates  from  all  parts  of  Europe 
flocked  in  1433.  Master  Conrad  was  made  free  of 
the  Basel  Guild  on  June  21,  1434,  on  which  day  he 
paid  the  entrance  fee  of  £2  Is.  On  January  10, 
1435,  he  acquired  the  freedom  of  the  city.  On 
March  23,  1443,  he  bought  for  350  florins  a  large 
house,  known  as''The  Plough,"  in  the  Freie  Strasse, 
in  which  street  Nicolas  Ruesch,  under  whom  he  is 
thought  to  have  worked,  also  resided.  Witz  mar- 
ried Ursula,  daughter  of  James  van  Wangen,  sur- 
named  Treyger,  and  Elsin  von  Tietwilr,  sister  of 
N.  Ruesch's  first  wife.  She  bore  him  five  children, 
who  were  all  minors  when  he  died,  before  August 
5,  1447 ;  three  of  them  and  their  mother  died 
before  October  1454,  when  the  eldest  daughter 
entered  the  convent  of  St.  Mary  Magdalene, 
where  she  was  professed  in  1456  ;  her  guardians 
handed  the  convent,  as  her  dowry,  the  siun  of  400 
florins,  which  is  stated  in  the  deed  to  have  been 
entirely  made  up  from  what  her  father  had  earned 
in  the  exercise  of  his  craft.  In  1444  Witz  com- 
pleted a  large  triptych  for  Francis  de  Mies,  Bishop 
of  Geneva,  which  until  the  Calvinist  outbreak 
adorned  the  chapel  of  the  Macchabees,  founded  in 
the  catliedral  by  his  uncle  and  predecessor.  Cardinal 
John  de  Brogny.  Of  this  altar-piece,  the  upper  and 
lower  right  shutters,  which  are  painted  on  both 
sides,  have  alone  escaped  destruction.  One  of  the 
episodes  in  St  Peter's  life,  which  represents  him 
sinking  in  the  water  and  stretching  out  his  arms  to 
our  Lord  (John  xxi,  1-8),  is  very  remarkable,  as 
the  scene  is  represented  as  taking  place  on  the 
left  shore  of  the  Lake  of  Geneva ;  the  view  of 
the  lake  and  opposite  shore  have  been  taken 
from  a  spot  between  Geneva  and  tlie  village  of 
Pregny.     This  panel  bears  the  inscription  :  "  Hoc 


PAINTERS  AND  ENGRAVKRS. 


opus  pinxit  magister  Conradus  Sapientis  de  Basilea 
in°cccc°xliiij°." 

With  Lucas  Moser  and  Hans  Multsoher,  Conrad 
Witz  is  one  of  the  most  important  representatives 
of  that  group  of  painters  of  Swabia  and  the  Upper 
Rhine  who  were  the  pioneers  of  realistic  ten- 
dencies in  the  art  of  South  Germany,  and  exercised 
a  powerful  influence  on  the  development  of  paint- 
ing in  the  first  half  of  the  tifteenth  century.  He  is 
an  artist  of  great  originahty  and  remarkable  en- 
dowments, and  tlie  fame  of  liis  worksliop  raised 
Basel  to  the  position  of  one  of  the  most  important 
centres  of  art  in  Europe  at  tliat  date.  His  prin- 
cipal known  works  are  the  following  : 

Basel.      _       Museum.    Three     soldiers    bringing    the 
water  of  Betlilehera  to  David. 

„  ,,  Abraham  and  Melchiscdech. 

„  „  Esther's    petition    granted    by 

Ahasuerus. 

„  „  Antipater     shows     Caesar      his 

wounds     and     appeases    bis 
wrath. 

„  ,,  St.  Christopher. 

„  „  St.  Bartholomew. 

„  „  The  Synagogue:  femtile  figure, 

with  broken  banner. 

„  ,,  The  Visitation. 

Geneva.  Gallery.     Adoration  of  the   Magi ;  on  ex- 

terior, St.  Peter  sinking  in  the 
water. 

„  „  Cardinal  John  de  Brogny  knetl- 

iug  before  our  Lord  on  His 
mothers  lap  ;  on  exterior,  St. 
Peter  led  out  of  prison ; 
signed  and  dated  1444. 
{Originally  these  panels  formed 
one  icinq  of  the  altar-viece 
in  the  chapel  of  Notre  Dame 
des  Macchabees^  which  was 
founded  hy  Jean  de  Broijny, 
Bishop  of  Geneva  ;  he  ditd  in 
1426,  and  the  duty  of  proiidinff 
an  altar-piece  for  the  chapel 
devolved  on  his  nephew^ 
Frant^ois  de  Jlies.) 
Naples.  Museum.     Onr     Lady     and      Child,     St. 

Katberine  and  St.  Barbara; 
on  left,  a  man  holding  out  a 
fruit  (the  scene  laid  in  the 
nave  of  Basel  Cathedral). 
Strassburg.  Gallery.  St.  Mary  Magdalene  and  St. 
Katherine  seated  in  the  tran- 
sept of  a  church  (a  street 
view,  with  figures,  seen 
through  the  open  south  door). 
(Fossil'ly  painted  fur  the 
convent  of  St.  Mary  Magdalene 
at  Basel,  rehire  a  dauyhter  of 
Conrad  Witz  later  took  the 
veil.) 

A  drawing  of  the  '  Madonna  and  Child '  attri- 
buted by  some  critics  to  this  master  is  in  the 
Berlin  jfueeum.  W.  H,  J.  W.  &  C.  J.  Ff. 

WITZANl,  JOHANN  Friedrich,  (or  Wiszanie,) 
painter  and  etcher,  was  born  at  Dresden  in  1770, 
and  was  a  pupil  of  Zingg.  He  first  painted  minia- 
tures and  then  landscapes.  For  a  while  he  was 
employed  at  the  Jleissen  porcelain  manufactory, 
and  afterwards  devoted  himself  to  painting  views 
and  transparencies,  and  the  production  of  aquatints 
and  coloured  etchings.  He  published  a  book  of 
instruction  in  landscape  painting.  He  died  in  1835. 
WlTZANI,  Karl  Augustus,  landscape  painter 
and  etcher,  elder  brother  of  Johann  Friedrich  Wit- 
zani,  was  born  at  Dresden  in  1769.  He  was  a 
pupil  of  Canale,  but  interrupted  his  artistic  course 
by  spending  ten  years  in  the  artillery.  He  etched 
c  c  2 


'  The  Annunciation  to  the  Shepherds '  after  Wou- 
wernian,  a  view  of  a  town  after  Van  der  Neer,  and 
a  landscape  with  cattle,  after  Karel  Dujardin.  He 
shot  himself  in  1816. 

WIVELL,  Abraham,  portrait  painter,  was  born 
in  Marylebone  on  the  9th  July,  1786.  After  sorao 
education  at  the  hands  of  his  mother,  he  learnt 
shoemaking  at  the  Marylebone  School  of  Industry, 
but  was  apprenticed  at  thirteen  to  a  wig-maker. 
This  business  he  followed  himself  when  his  time 
was  up,  but  beside  the  wigs  in  his  window  he 
used  to  expose  for  sale  some  miniatures  in  water- 
colour  of  his  own  doing.  At  the  trial  of  the 
Cato  Street  conspirators  he  made  sketches  of  their 
heads,  which  had  a  great  success,  and  led  him  on  to 
further  ventures  in  the  same  field.  He  obtained 
a  few  commissions  for  theatrical  portraits,  and 
drew  and  published  portraits  of  the  chief  persons 
engaged  on  the  trial  of  Queen  Caroline.  The  money 
he  made  by  these  productions  he  lost  in  publishing 
'  An  Enquiry  into  the  History  of  the  Shakespeare 
Portraits,'  and  was  only  relieved  from  distress  by 
an  opportune  legacy.  He  next  took  to  inventing 
tire-escapes,  and  was  appointed  superintendent  of 
their  plant  by  the  new  Society  for  the  Protection 
of  Life  from  Fire.  After  a  time  he  resigned  this 
post  and  migrated  to  Birmingham,  where,  in  1847, 
he  was  employed  to  make  portraits  of  railway 
magnates  for  the  '  Railway  Record.'  He  twice 
exhibited  portraits  in  oil  at  the  Academy,  in  1822 
and  1830,  but  his  real  gift  was  for  a  good  likeness 
in  black  lead  pencil.  He  died  at  Birmingham  on 
the  29th  of  March,  1849. 

WOCHER,  Marquard,  designer  and  etcher,  was 
born  at  Seckingen,  Baden,  in  1758.  He  was  first 
instructed  by  his  father,  and  became  a  successful 
imitator  of  Aberli.  He  etched  Swiss  costumes 
after  Lory ;  Swiss  views  after  the  same  artist, 
.after  Aschmann,  and  from  his  own  drawings  ;  and 
painted  a  panorama  of  Thun  and  its  neighbourhood. 
He  died  at  Basle  in  1826.  His  father,  Tiberius 
WocHER,  (born  at  Mimmenhausen,  1728,  died  at 
Reutli,  1799,)  was  a  portrait  painter  and  etcher. 

WOEIHIOT,  Pierre,  (Woeriot,  Voeiriot,  &o.,)^ 
who  in  1562  assumed  by  permission  the  name  of 
De  BoDZEry,  was  an  engraver  and  sculptor,  and 
was  born  at  Bouzey,  near  Rheims,  in  1531  or  1532. 
He  was  for  a  time  sculptor  to  the  Duke  of  Lor- 
raine, but  subsequently  studied  in  Italy,  and  in 
1555  settled  in  Lyons  as  an  engraver,  producing 
many  historical  plates  and  portraits,  as  well  as  a 
large  number  of  patterns  for  goldsmiths.  In  1561 
he  took  to  wood-engraving,  and  succeeded  in  that 
too.  He  usually  marked  liis  copper-plates  with 
a  monogram  composed  of  the  letters  P.  D.  B. 
His  woodcuts  are  very  numerous,  and  executed 
with  great  delicacy.     They  are  marked  with  the 

cross  of  Lorraine  jt»  Dumesnil  gives  minute  de- 
scriptions of  401  plates  and  woodcuts  by  him.  The 
following  plates  are  among  his  best: 

The  Sacrifice  of  Abraham. 

Moses  saved  from  the  Nile, 

Phalaris  put  into  the  Brazen  Bull. 

A  Woman  witli  two  Children  in  her  arms,  throwing 

herself  on  a  funeral  pile. 
Two  small  Landscapes,  with  a  great  number  of  figures. 
The  Battle  betwixt  Coustantine  and  Maxentius ;  after 

Raphael. 
The  Resurrection  ;  after  Giorgio  Ghisi. 

WOENSAM  von  WORMS,  Anton,  painter  and 
draughtsman  on  wood,  son  of  a  painter,  Jasper  von 

387 


A  BIOGRAPHICAL  DICTIONARY  OF 


Wonns,  with  whom  he  removed  to  Cohigne  in  the 
first  decade  of  tlie  16th  century;  liere  Anton 
married  and  settled,  dying  there  in  1541.  It  is 
remarkable  thnt  thoiigli  tlie  greater  part  of  his  life 
was  spent  at  Cologne,  his  art  shows  no  connection 
with  that  of  the  painters  of  tlie  Lower  Rhine  or  of 
the  Netherlands,  whose  influence  was  paramount 
at  Cologne  in  the  first  half  of  the  16th  century. 
Anton  Woensara  appears  to  have  learned  his  art 
in  South  Germany,  and  to  have  been  more  especially 
influenced  by  the  work  of  Diirer,  and  he  always 
remained  true  to  the  traditions  of  his  j'outh.  His 
paintings  are  comparatively  rare,  but  as  a  designpr 
of  woodcuts  he  was  extraordinarily  prolific.  His 
biographers  enumerate  323  books  for  which  he 
furnished  the  illustrations,  besides  many  series  of 
woodcuts  and  a  great  number  of  single  sheets 
comprising  religious,  mythological  and  allegorical 
subjects,  portraits,  armorial  bearings,  alphabets,  &c., 
executed  between  1528  and  1538.  One  of  his 
most  important  works  of  this  class  was  the  great 
panorama  of  Cologne  in  nine  sheets,  published  by 
Peter  Quendel  in  1531.  He  usually  signs  his  works 
with  the  monogram  A.  W.  and  occasionally  T.  IF., 
which  is  explained  by  the  fact  that  in  the  Rhenish 
dialect  he  is  often  spoken  of  as  "Thonisz.''  He 
has  been  confused  with  a  Saxon  wood  engraver 
who  made  use  of  the  first-named  monogram,  and 
worked  for  the  publications  of  George  Rhau  of 
Wittenberg.  Brulliot  ascribes  to  Anton  von  Worms 
two  copper-plates  bearing  this  monogram :  a 
naked  man  seated  in  a  cavern,  and  a  '  St.  Andrew ' ; 
but  it  should  bo  observed  that  in  the  Wittenberg- 
sheets  the  cross  stroke  of  the  A  is  omitted,  wliile 
in  the  woodcuts  of  Anton  von  Worms  this  is  never 
the  case,  and  it  is  unlikely  from  every  point  of 
view  that  this  Wittenberg  engraver  is  identical 
with  Anton  Woensam. 

Among  the  principal   paintings   of  Anton  von 
Worms  are  the  following  : 


Berlin. 

Bonn. 

Cologne, 


Gnlhrt/. 
{Depot.) 


Gallery. 


St.  Scverin, 


Darmstadt.         GaVery. 

Frankfort-on-        StdJt'l 

tbe-Maine.      Institute. 


Freising. 

Archbishop^s 
Collection. 

Godesberg. 

Munich. 

Gallery. 

Worms. 

Heyl  Coll. 

388 

The  Last  Judgment. 

A  Bishop  and  St.  John  the 
Baptist,  with  donors. 

Wings  of  an  altar-piece,  with 
saints. 

The  Betrayal,  1.S29,  with  the 
donor,  an  ecclesiastic. 

The  Crucifixion,  with  Saints, 
and  the  donor  Petrus  Blome- 
venua,  Trior  of  the  Carthu- 
sian Monastt^ry  at  Cologne, 
and  numerous  members  of 
his  family.  {Si</iied  with 
the  monogram  of  tke painter^ 
and  dated  1535.) 

Left  wing  of  a  triptych.  (For- 
merly  Ctiive-Boul-aheit  Coll.) 

Madonna  and  Child,  with  SS. 
Severiu  and  Bartholomew 
and  the  donor,  who  died  in 
1530. 

Madonna  and  Child. 
)  SS.     Anthony,    Barbara,    and 
j      Catherine.     {An    admiruhle 
e:vample ;    formerly    in    ike 
Caithnsian     Monastery      at 
Cologne.) 
)  Crucifixion,  with  Constantine 
j      and  St.  Helena.  1520.    (Cen- 
tral panel  of  an  altar-piece.) 

Adoration  of  the  Magi,  with 
Donors. 

Four  Saints,  wings  of  the  altar- 
piece  at  Freising.     1520. 

The  Kindred  of  the  Blessed 
Virgin.     (Central  panel  and 


right  wing  of  a  triptych ; 
the  left  is  in  the  Cologne 
Museum.  Formerly  Clave- 
Bouhahen  Coll.  One  of  his 
best  works.) 

Other  paintings  once  in  private  collections  at 
Cologne  have  now  been  dispersed,  and  are  no 
longer  traceable.  Among  his  numerous  woodcuts 
executed  between  1528-1538  may  be  mentioned 
the  following : 

Paradise,  for  the  Cologne  Bible  of  1529. 
The  Twelve  Apostles.     1529. 
The  Apocalypse.     Ij25. 

The  series  for  the  Rosarium  Mysticum  (1.531),  fifty-sir 
sheets. 

Numerous  illustrations  for  the  works  of  the 
Carthusian  Dionysius,  among  them  the  Madonna 
and  Child  with  St.  Barbara  and  Dionysius,  of 
15.30,  and  a  full-length  figure  of  this  writer.  An 
exhaustive  list  of  the  works  of  Anton  von  Worms 
is  given  by  Dr.  Firmenich  Richartz,  one  of  the 
best  connoisseurs  of  the  School  of  Cologne  and  of 
the  painters  who  worked  in  that  city,  in  his  edition 
of  Merlo,  189.3-1895.  C  J  If. 

WOENSAM  VON  WORMS,  Jaspar,  the  father  of 
the  preceding,  whom  he  survived.  He  appears  at 
Cologne  in  1610,  and  held  public  offices  there  be- 
tween 1513  nnd  1546.  He  died  there  between 
1546  and  1549,  Bruyn  having  been  chosen  in  that 
year  to  succeed  him  in  the  office  of  Councillor. 
He  was  greatly  esteemed  as  a  painter  by  his  con- 
temporaries, but  none  of  his  works  have  been 
preserved.  C.  J.  Ff, 

WOENSEL,  Petronella,  painter,  was  born  at 
the  Hague  in  1785.  She  was  a  pupil  of  Van  Os, 
and  became  a  successful  painter  of  flowers,  fruits, 
and  insects.     She  died  in  1839. 

WOERNDLE,  von  Adelsfried  Edmuxd,  Ger- 
man painter,  born  in  1827  at  Vienna ;  became  a 
pupil  of  the  Vienna  Academy,  under  Ender  and 
Steinfeld  ;  he  was  also  influenced  by  Fiihrich.  In 
1855  he  visited  Palestine,  and  after  study  in  Italy 
he  settled  at  Innsbruck ;  painted  Tyrolese  land- 
scapes and  a  series  of  pictures  illustrative  of  the 
Parzival  Legend.     He  died  in  1887. 

WOGAN,  Thomas,  an  Irish  miniaturepainter, was 
born  about  1740.  He  studied  at  Dublin,  and  prac- 
tised both  there  and  in  London,  exhibiting  at  tho 
Royal  Academy  in  177G-78.  He  died  in  Dublin 
in  1780. 

WOHLGEMUTH.     See  Wolgemut. 

WOLF,  Caspar,  was  born  at  Muri,  in  Aargau,  in 
1735,  and  studied  first  under  Lenzer  at  Constance, 
afterwards  at  Augsburg,  Munich,  and  Passau,  and 
lastly  under  De  Loutherbourg  in  Paris.  On  return- 
ing home  he  was  employed  by  the  connoisseur 
Wagner  to  assist  in  bringing  out  '  The  Beauties 
of  Switzerland '  in  coloured  plates ;  but  the  work 
was  never  completed.  Altogether  Wolf  contri- 
buted about  one  hundred  and  fifty  engravings. 
His  principal  works  were  landscapes,  chiefly  wild 
mountain  scenery.     He  died  at  Mantiheim  in  1798. 

WOLF,  Hans,  was  born  about  1480,  and  flour- 
ished about  1508-38  at  Bamberg,  where,  in  1518,  he 
became  court  painter  to  the  prince  bishop.  He 
was  friendly  with  Albrecht  Diirer,  who  drew  his 
portrait  in  his  sketch-book. 

WOLF,  JoHANN  Andreas,  was  born  at  Munich 
in  1652.  He  was  the  pupil  of  his  father,  Jonas 
Wolf,  an  obscure  painter,  and  of  the  sculptor 
Ableitner.  For  a  time  he  followed  the  manner  of 
Schonfeld  and  Karl  Loth,  but  afterwards  improved 


PAINTERS  AND  ENGRAVERS. 


his  style  by  the  study  of  some  drawings  by  Raphael. 
He  painted  many  pictures  for  Bavarian  churches, 
and  was  appointed  court  painter  at  Munich  and 
Freising.  Among  his  works  are  a  '  St.  Andrew ' 
in  the  Freising  Cathedral,  an  '  Ascension  of  Clirist' 
at  Kremsmuiister,  his  own  portrait  in  the  Old 
Pin;ikothek  at  Munich,  and  other  examples  at 
Augsburg,  Schleissheim,  &c.  He  died  at  Munich 
in  1716. 

WOLF,  Joseph.  This  wonderful  animal  painter 
was  born  at  Moerz  near  Coblenz  in  Rhenish 
Prussia,  and  was  the  son  of  Anton  Wolf,  the  Head 
Man  of  the  district.  From  his  very  earhest  da3's 
he  was  passionately  fond  of  birds,  and  cut  out 
representations  of  them  in  paper  with  a  pair  of 
scissors.  He  worked  for  a  while  on  his  father's 
farm,  but  employed  most  of  his  time  in  watching 
the  birds  and  in  endeavouring  to  sketch  them, 
while  he  frequently  set  off  for  days'  excursions 
into  the  forest,  in  order  to  study  wild  life,  and  on 
more  than  one  occasion  walked  into  Neuwied  to 
see  Prince  Maximilian's  collection  of  South 
American  birds.  It  was  quite  clear  that  he  would 
never  become  a  farmer,  and  his  futher  at  last 
consented  to  bind  him  apprentice  fur  three  years 
to  the  brothers  Becker  at  Coblenz,  who  were 
lithographers,  and  where  he  had  at  last  a  chance 
of  employing  his  pencil.  For  this  firm  he  pro- 
duced advertisements,  labels,  and  designs,  crowded 
with  examples  of  bird-life.  After  tlu'ee  years  he 
returned  to  his  fathei''s  farm,  and  spent  a  year  at 
home,  making,  meantime,  bird-studies  in  water- 
colours.  A  little  later  on  he  found  employment 
as  a  lithographer  at  Darmstadt,  and  there  obtained 
an  introduction  to  the  gi'eat  naturalist.  Dr.  Kaup, 
for  whom  he  made  many  sketches,  and  whom  he 
assisted  in  setting  many  of  his  bird  specimens. 
A  little  later  on  ho  was  employed  as  a  lithosrapiier 
in  connection  with  an  important  book  on  falconry 
about  to  be  issued  at  Leyden,  but  he  became  ill  in 
Holland,  and  had  to  return  to  Darmstadt,  where 
he  continued  his  studies  of  zoology.  Finding, 
however,  that  he  needed  practical  instruction  in 
drawing,  he  made  up  his  mind  to  join  the  Antwerp 
Academy,  and  took  his  place  among  the  younger 
pupils  in  the  life  school,  and  worked  exceedingly 
hard.  He  painted  several  pictures  of  birds  at 
Antwerp,  and  then,  having  saved  up  sufBcient 
money  for  the  journey,  and  being  provided  with 
introductions  from  Dr.  Kaup,  he  came  over  to 
London  in  1848,  where  he  was  welcomed  at  the 
Britisli  Museum,  and  at  once  installed  in  the 
insect-room,  to  begin  lithographic  work  for  Gray's 
'  Genera  of  Birds.'  He  spent  all  his  spare  time  at 
the  Zoological  Gardens,  sketching,  and  in  process 
of  time  became  exceedingly  popular  in  London, 
being  introduced  to  the  Duke  of  Westminster  and 
the  Duke  of  Argyll,  both  lovers  of  birds,  and 
becoming  friendly  with  Eossetti,  Wohier,  and 
Landseer.  In  1849  he  assisted  Gould  in  the  pre- 
paration of  bis  great  work  on  the  birds  of  Great 
Britain,  and  with  Gould  he  went  to  Norway  and 
other  countries  in  the  north.  For  the  Zoological 
Society  he  prepared  a  large  number  of  illustrations, 
both  in  the  Proceedings,  and  in  a  work  known  as 
the  'Ibis.'  Other  books  which  he  illustrated  are:  — 
'Zoological  Diagrams' (1859)  ;  'Life  and  Habits 
of  Wild  Creatures,'  '  Game  Birds  and  Wild  Fowl,' 
'  The  Poet's  Woods,'  '  Ornithological  Rambles  in 
Sussex,'  '  Autumns  on  the  Spey,'  '  The  Claims, 
History,  and  Practice  of  Falconry,'  by  Salvin 
(1859)  ;   'Wild  Animals  and  Birds,  their  Haunts 


and_  Habits,'  '  Sporting  Scenes  among  the  Kaffirs' 
(1858)  ;  'Tropical  South  Africa,'  'Falconry  in  the 
Valley  of  the  Indus,'  'Livingstone's  Missionary 
Travels'  (1857);  '  ^sop's  Fables'  (1858);  'The 
Book  of  Job'  (1857);  'The  Italian  Valleys' 
(1858);  Thompson's  'Seasons'  (1859);  Words- 
worth's Poems  (1859);  Wood's  '  Natural  History' 
(1859);  'Gatherings  of  a  Naturalist  in  Australia' 
(18(;0);  'Hunting  in  the  Himalaya'  (1860); 
Atkinson's '  Travels '  (1860)  ;  Montgomery's  Poems 
(1860);  Tennent's  'History  of  Ceylon'  (1861); 
'The  K.imance  of  Natural  History'  (18G1)  ;  Eliza 
Cook's  Poems  (1861);  'English  Sacred  Poetry' 
(1861);  'Britisli  Birds  in  their  Haunts'  (1862); 
'African  Hunting' (186.3)  ;  'The  Birds  of  Norfolk' 
(1866);  Tennent's  'Wild  Elephant,'  Tristram's 
'Natural  History  of  the  Bible  '  (1867)  ;  the  Duke 
of  Argyll's  '  Reign  of  Law'  (1867);  EUiot's 'Mono- 
graph on  the  Pheasants '(1872)  ;  the  same  author's 
work  on  the  'Birds  of  Paradise  '  (1873);  Dresser's 
'Birds  of  Europe'  (1879);  Dr.  Wilson's  'Wild 
Animals'  (1882);  as  well  as  his  own  long  series 
of  zoological  sketches,  Elliot's  '  Monograph  on  the 
Cats,'  and  Gould's  great  work  on  tiie  'Birds  of 
Europe  and  Asia.' 

There  is,  in  fact,  hardly  a  book  on  natural  history 
issued.,  during  Wolf's  life  to  which  he  did  not 
make  some  contribution,  and  he  has  been  pro- 
nounced to  be  without  exception  the  best  all- 
round  animal  painter  that  ever  lived.  His  collec- 
tion of  sketches  numbered  many  thousands,  and 
his  industry  was  indefatigable,  every  spare  moment 
being  occupied  in  sketching.  He  possessed  an 
exceedingly  accurate  eye,  and  was  able  in  a 
moment  to  detect  the  position  of  a  bird  with 
perfect  skill  and  accuracy,  while  so  thoroughly 
had  he  practised  draughtsmanship,  and  so  in- 
timately did  he  understand  his  subject,  that  his 
drawings  are  not  only  extremely  beautiful,  but 
are  marvels  of  most  perfect  accuracy.  After  he 
settled  down  in  London,  he  did  not  again  visit  his 
native  country,  but  spent  most  of  his  time  chjse  to 
Regent's  Park,  living  successively  in  the  Fulhiim 
Road,  in  the  Fitzroy  Road,  and  at  Primrose  Hill, 
and  he  died  in  his  studio  in  the  latter  place  in 
1899.  He  never  married,  and  spent  a  great  deal  of 
his  time  alone.  He  was  a  man  of  particularly  kindly 
disposition,  full  of  intense  affection  for  his  subject, 
accurate  to  the  highest  extent.  In  his  drawings 
of  birds,  the  feather  tracts  are  always  correctly 
drawn,  and  every  detail  from  bill  to  claw  is  abso- 
lute in  its  truth,  the  result  of  most  painstaking 
study  and  observation.  In  his  book  illustrations 
there  was  no  straining  aftereffect,  no  endeavour  to 
create  a  situation  or  to  suggest  a  story,  but  broad 
clear  treatment,  living  reproduction,  and  a  sim- 
plicity of  style  that  was  most  attractive.      G.  C.  Wj 

WOLF,  Ldise,  was  born  at  Leipsic  in  1798,  and 
studied  successively  under  Langer,  Cornelius,  Over- 
beck,  and  Schnorr.  She  painted  religious  pictures 
in  imitation  of  mediajval  art,  also  miniature  por- 
traits in  water-colour.  A  series  of  the  former 
were  reproduced  in  forty  plates  engraved  by 
Barfus,  Walde,  and  Petzsch,  and  published  at 
Gottingen  with  text  by  Dr.  Sohoberlein,  under  the 
title  of  '  Hauscapelle.'  She  died  at  Bogenhausen, 
near  Munich,  in  1859. 

WOLF,  Ulrich  Lodwig,  designer  and  engraver, 
was  born  at  Berlin  in  1772.  He  was  destined  for 
a  sculptor,  but  became  a  painter,  and  the  pupil  of 
Meil  and  Carstens.  He  received  so  many  com- 
missions for  illustrative  designs,  however,  that  he 

389 


A  BIOGRAPHICAL  DICTIONARY  OF 


soon  abandoned  painting.  He  illustrated  Shake- 
speare, Schiller,  and  Ossian ;  wliilst  his  portrait  of 
Frederick  II.  upon  his  favourite  horse,  Coude,  was 
pronounced  the  most  truthful  of  that  monarch's 
likenesses.  He  also  etched,  engraved,  and  litho- 
graphed a  number  of  plates.  He  was  a  member 
of  tlie  Academy  of  Berlin,  where  he  died  in  1832. 

WOLFAERTS,  Aktus,  (or  Wolffordt,)  his- 
torical painter,  was  born  at  Antwerp  in  1581,  and 
was  made  free  of  the  Guild  of  St.  Luke  in  1616-17. 
His  subjects  were  often  taken  from  the  Bible  or 
from  mythology,  and  had  landscapes  and  archi- 
tectural compositions  for  their  backgrounds.  He 
also  painted  peasant  gatherings  in  the  style  of 
Teniers.  His  reputation  was  great  during  life, 
and  Van  Dyck  painted  his  portrait.  He  died  in 
1641. 

WOLFAERTS,  Jan  B ,  the  son  of  Artus  (?), 

was  born  at  Antwerp  in  1625.  After  travelling  for 
a  time  in  Italy,  he  seems  to  have  settled  in  Holland. 
He  was  received  into  the  Guild  at  Haarlem  in  1647. 
His  works  were  chiefly  landscapes  in  the  manner 
of  Cuyp,  sometimes  with  animals.    He  died  in  1687. 

WOLFENSBERGER,  Johann  Jakob,  was  born 
at  Rumlikon,  in  the  canton  of  Zurich,  in  1797,  and 
commenced  liisartistic  career  by  colouring  prints  for 
the  establishment  of  H.  Fiissli.  He  then  went  on 
foot  to  Naples,  where  he  worked  at  first  under 
Huber,  and  afterwards  on  his  own  account.  Under 
commission  from  the  Duke  of  Berwick,  he  went 
to  Sicily  in  1821  to  paint  views  in  that  island. 
He  then  worked  for  a  while  in  Rome,  visited 
Athens  in  1832,  Constantinople  and  Asia  Minor 
in  1834.  After  his  return  from  the  East  in  1838, 
he  exhibited  in  Zurich  some  two  hundred  of  his 
water-colour  pictures.  He  visited  Vienna,  Paris, 
and  London,  where  some  of  his  works  became 
popular  in  engravings.  His  latest  productions  were 
views  in  Switzerland.  He  died  at  Zurich  in  1850. 
His  favourite  model  was  Salvator  Rosa. 

WOLFF,  Bknjamin,  a  German  painter  settled 
in  Holland,  was  born  at  Dessau  in  1758.  He 
studied  for  a  time  in  Italy,  and  in  1814  was  ap- 
pointed Keeper  of  the  Amsterdam  Museum,  where 
there  is  a  copy  of  Titian's  '  Portrait  of  Francis  I.' 
by  him.    He  died  at  Amsterdam,  October  15,  1825. 

WOLFGANG,  Andreas  Matthaus,  an  engraver, 
son  of  Georg  Andreas  Wolfgang,  was  born  at 
Augsburg  in  1662,  or  perhaps  1660,  and  learned 
drawing  and  engraving  from  his  father.  He  ac- 
companied his  brother  Johann  Georg  to  England, 
and  on  his  return  voyage  was  taken  by  pirates 
and  carried  to  Algiers.  Ransomed  by  his  father, 
he  then  settled  at  Augsburg,  where  he  died  in 
1736.  He  engraved  many  portraits  of  distinguished 
persons,  of  which  the  best,  perlia])S,  are  those 
of  the  Margrave  of  Anspach,  of  Prince  Eugene, 
and  of  the  Emperor  Charles  VI.  He  also  engraved 
some  battle-pieces  and  genre  subjects. 

WOLFGANG,  Georo  Andreas,  engraver  and 
goldsmith,  was  born  at  Chemnitz,  Saxony,  in  1631. 
He  at  first  engraved  sword-blades  and  other 
weapons,  but  afterwards  learnt  to  work  on  copper 
from  Maltheus  Kiissel.  He  engraved  historical 
subjects  and  portraits  after  Schonfeldt,  Wer- 
ner, Zierl,  and  others,  in  line.  He  also  scraped 
some  mezzotints.  Ha  died  at  Augsburg  in  1716. 
Among  others,  we  have  the  following  prints  by 
him  : 

LINE   ENGRAVINGS. 

Georg  Friedrich,  Margrave  of  Brandenburg;  after  C. 
Zierl. 
390 


Peter  Miiller,  Jurisconsult. 
A  Sacrifice  to  Diana  ;  after  J.  H  SchSnfeldt. 
Saul  consulting  the  Shade  of  Samuel ;  after  J.  Werner. 
A  set  of  ten  subjects  from  the  Old  and  New  Testament ; 
after  Vmhach. 

MEZZOTINTS. 
Johannes  Koch,  a  medallion. 
A  young  "Warrior  in  armour,  with  flowing  hair. 
An  old  Man  seated  at  a  table,  an  old  Woman  behind 

his  chair. 
A  young  Man  with  long  curled  hair,  and  an  old  Man 

with  a  beard. 
Susannah  at  the  Bath  ;  after  Holbein. 

A  younger  Georg  Andreas  Wolfgang  was  the 
son  of  Johann  Georg  Wolfgang,  and  was  born  at 
Augsburg  in  1703.  He  was  a  portrait  painter,  and 
worked  for  some  time  in  England,  but  afterwards 
became  court  painter  at  Goth.a. 

WOLFGANG,  Gustav  Andreas,  painter  and  en- 
graver, was  the  son  of  Andreas  Matthaus  Wolf- 
gang, and  was  born  at  Augsburg  in  1692.  He  was 
taught  engraving  by  his  uncle,  Johann  Georg,  and 
executed  several  portrait  plates  in  the  same  neat 
style.     He  died  at  his  birthplace  in  1775. 

WOLFGANG,  Johann  Georg,  an  engraver,  the 
younger  son  of  Georg  Andreas  Wolfgang,  was  born 
at  Augsburg  in  1664,  and  was  his  father's  pupil. 
He  was  carried  to  Algiers  with  his  brother,  Andreas 
Matthiius,  and  after  his  return  was  invited,  in  1704, 
to  the  court  of  Berlin,  and  appointed  engraver  to 
the  first  king  of  Prussia.  He  died  in  1748.  He 
has  left  a  considerable  number  of  portraits,  exe- 
cuted much  more  neatly  than  those  of  his  father 
and  brother.  He  also  engraved  a  set  of  prints  for 
a  folio  volume  entitled  'Notitia  Universitatis  Fran- 
cofurtana','  published  in  1707.  His  best  plate  is 
a  'Crucifix,'  after  Le  Brun.  The  following  are 
among  his  portraits  : 

Friedrich  Wilhelm,  Elector  of  Brandenburg;  from  the 

equestrian  statue  by  Jacohi. 
August  Wilhelm,  Duke  of  Brunswick  and  Lunenburg  ; 

after  Fraud:. 
Joliann  Melchior  Dinglinger ;  after  A .  Pesne. 

WOLFL,  Adalbert,  German  painter,  born  May 
9,  1827,  at  Frankenstein,  Silesia  ;  after  a  course  of 
theology  at  the  Breslau  University  he  became  a 
pupil  of  E.  Resell,  though  he  was  to  a  great  extent 
self-taught ;  he  travelled  in  Italy,  Austria,  and  the 
Tyrol  before  settling  at  Breslau,  where  he  painted 
views  of  local  churches.  He  died  November  7, 
1896. 

WOLFVOET,  Victor,  (who  has  been  confounded 
by  some  writers  with  the  pupil  of  Rembrandt,  Jan 
Victoors,  or  Fictoors,)  was  the  son  of  a  painter  of 
the  same  name.  He  was  born  at  Antwerp  in  1612. 
He  was  the  scholar  first  of  his  father,  and  after- 
wards of  Rubens,  whose  style  he  studied  with  much 
success.  In  1G44  he  entered  the  Artists'  Guild.  A 
'  Visitation  '  by  him,  in  the  church  of  St.  Jacques 
at  Antwerp,  is  in  imitation  of  the  same  subject  on 
the  wing  of  Ridiens's  '  Descent  from  the  Cross '  in 
the  Cathedral  of  Antwerp.  In  the  Dresden  Gallery 
there  is  a  '  Head  of  Medusa,'  signed  "  Victor  Wolf- 
woet."     He  died  in  his  native  city  in  1652. 

WOLGEMUT,  Michael,  of  Nuremberg,  the  son 
of  a  painter  named  Valentin  ;  born  at  Ntiremberg 
in  1434,  died  there  in  1519.  He  was,  according 
to  Dr.  Henry  Thode  (one  of  the  greatest  living 
authorities  on  the  School  of  Ntiremberg),  a  pupil 
and  assistant  of  Hans  Pleydenwurtf,  whose  widow 
he  married  in  1473,  and  in  whose  house  he  estab- 
lished   lu3    own   workshop.     Hia    name   appears 


MICHAEL  WOLGEMUT 


HatifstiUigl  photo  ^ 


THE  CRUCIFIXION 


Munuh  iiallcry 


PAINTERS  AND  ENGRAVERS. 


among   the  citizens   of  Nuremberg  between   the 
years  1473  and  1495,  and  by  1479  he  must  have 
been  regarded  as  the  most  prominent  artist  of  the 
city,  as  in  that  year  he  was  selected  to  execute 
tlie  altar-piece  for  the  church  at  Zwickau.     From 
that  time  up  to  1508,  the  date  of  the  last  work  of 
which  we  have  documentary  proof,  he  undertook 
a  great  number  of  important  commissions,  though 
the  execution  of  the  work  was  often  entrusted  to 
pupils  and  assistants.     The  merits  of  Wolgemut 
as  an  independent  artist  have  indeed  been  greatly 
overrated,  and  he  cannot  be  placed  in  the  same 
category  with   the   three   great   masters   of   this 
School  in  the  fifteenth  century — Meister  Berthold 
(who  is  now  known  to  have  belonged  to  tlie  Lan- 
dauer  family),  Pfenning,  and  Hans  Pleydenwurff. 
As  a  follower  of  his  master,  and  at  times  of  Schiilein 
of  Ulm,  of  Schongauer,  and  others,  his  works  often 
have  a  superficial   attractiveness   of   composition 
and    grouping   enhanced    by    the   charm    of    the 
colouring  and  of  the  landscape  backgrounds,  but 
they  are  devoid  of  originality,  and  are  inferior  to 
Pleydenwurff  in  quality  and  power  of  expression. 
Kevertheless,  after   the   death   of    his   master  in 
1472,  Wolgemut   was  looked   upon   as  the   most 
important  artist  at  Nuremberg ;     Diirer  was  his 
pupil  between  1486  and  1490,  and  for  over  forty 
years  his  workshop  was  one  of  tbe  busiest  in  the 
city,  being  frequented  by  the  best  painters,  carvers, 
and  wood  engravers  of  the  day.    Modern  criticism 
has  proved  conclusively  that  some  of  the  principal 
works  formerly  ascribed  to  Wolgemut  and  known 
to  have  been  commissioned  from  him,  were  either 
entirely  or  in  great  part  the  work  of  his  pupils. 
Thus   the   Peringsdorfter   altar-piece,  one   of  the 
greatest  achievements  of  the  Niiremberg  School  in 
the  second  half  of  tlie  fifteenth  century,  and  long- 
regarded  as  a  masterpiece  by  Wolgemut,  is  by 
his  stepson  Wilhelm  Pleydenwurti'  and  his  assist- 
ants ;    the   important   series  of    paintings   in   an 
upper  room  of  the  Rathhaus  at   Goslar,  for   the 
successful  completion  of  which  Wolgemut  in  1501 
received  the  honorary  citizenship  of  Goshir,  is  by 
a  pupil  by  whom  other  paintings  at   Erfurt  and 
Brunswick   are   known ;    and   the  altar-pieces  of 
Schwabach,    Zwickau,    Hersbriick   and    of  other 
places,  are  largely  the  work  of  pupils.     It  is  not 
known   with    certainty   whether   Wolgemut   was 
himself  a  carver  in  wood, but  the  art  was  continually 
practised  in  his  workshop,  and  in  nearly  all  the 
great  altar-pieces  produced  there  the  central  com- 
position was  in  carved  wood  ;  in  the  case  of  the 
Schwabach  altar-piece  Veit  Stoszis  known  to  have 
been  one  of  Wolgemut's  colleagues,  and  he  may 
have  collaborated  with  him  in  the  production  of 
paintings,  as  it  is  now  known  that  he  also  practised 
this  art,  having  executed  an  altar-piece  with  paint- 
ings for  the  parish  church  of  Munnerstadt  in  Lower 
Franconia  about  the  year  1500.    In  company  with 
Wilhelm  Pleydenwurff,  Wolgemut  furnished   the 
wood-cuts  for  two  books  which  were  published  at 
Nuremberg  between  1491  and  1494,  but  the  theory 
that  he  was  also  an  engraver,  and  that  the  examples 
signed  W.,  which  were  once  held  to  be  the  original 
designs  made  use  of  by  Dtirer  for  his  engravings, 
were    by    Wolgemut,   has    now    been    definitely 
abandoned,    Dr.   Lehra   having   proved    that   the 
cipher  referred  to  Wenzel  von  Olmiltz,  and  that 
the  engravings  were  actually  copied  from  Diirer. 
The  following  are  Wolgemut's  principal  paintiugs  : 

Crailsheim.   rarish  Ch.     Scenes  from  the  Pas.sion  (winifs 
of  an  altar-piece.    The  central 


composition  is  of  carved  wood), 
Predella,      half-lengths      of 
,  Saints     (one    of    Jl'o/ijemut's 

most    important   jrorks^  pro- 
hably  earlier  than  the  Zwickau 
altar-piece,  s/iowing  the  influ- 
ence of  Sch  il  lein ) . 
Hersbruck.  Parish  Ch.     Wings  of  an  altar-piece  (  Jl'ol- 
yemnt  and  a  J'Upil,  prohabli/ 
of  the  close  of  the  fifteenth 
century). 
Munich.     Gallery  (Hof\  Scenes     from      the      Passion, 
altar-piece). }      Crucifixion,     Descent     from 
the  Cross,  and  Resurrection 
{the  latter  panel  is  dated  1465. 
Painted  far   the    Church    of' 
the    Holy    Trinity    at    Hof. 
Shous  the  influence  of  Pley- 
denwurff in   composition   and 
types,  and   a  connection  with 
the    manner    of   Schiilein   as 
exempli/ted  in  his  altar-piece 
at  Tlefenbronn) . 
Niiremberg.     Chapel  of\  Altar-piece   {by   Wolyemut  and 
the  Holy  I      a  pupil.     Probabli/    executed 
Cross  {Haller  C     between  1480  and  1485 ;  reveals 
altar-piece),  j      a  study  of  the  engravings  of 
Schontjauer) . 
„  Church  of)  Lament  over  the  Dead  Body  of 

St.Loren:.j      Christ     {early;    brilliant  in 
colour,  and  closell/   connected 
with  the  Haller  altar-piece). 
n  „  Wings  of  an  altar-piece,  with  St. 

Catharine  and  the  Finding  of 
the  True  Cross  {of  the  same 
period  as  the  preccdiny). 
)>  „  SS.  Wolfgang,  Erhard,   and  a 

tliird    Bishop ;    in    the   pre- 
dolla,    the    donor    with    his 
children  {'/  14G4). 
,.  „  Mass  of  St.  Gregory  (1473). 

i>  „  Christ    with    SS.    Philip    and 

James  (1488). 
„  „  Christ  on  the  Cross,  with  the 

Mailonna,  St.   John,  and   an 
ecclesiastical  donor. 
„  „  The  Madonna  and  the  Apostles 

watching  the  Ascension. 
„  Burg.     Triptych;   carved  centre,  with 

painted  wings  ;  SS.  "Wences- 
laus,  Martin,  Barbara,  and 
Elisabeth  (period  of  Haller 
altar-piece). 

"        '^'''^Mt'eum.  ]  Death  of  the  Virgin  (1487). 

„  ,,  Two  Bishops. 

„  „  St,  Anne   with    the  Madonna 

and  Infant  Saviour  {late). 
Schwabach.  Tarish  Ch.  Predella  of  altar-piece:  St. 
Anne  with  the  Madonna  and 
Child,  St.  Klisabeth  and  a 
cripple,  and  scenes  from  the 
Passion  (the  larije  panels 
of  the  altar-piece  are  vorks  of 
the  School.  Finished  1508). 
Zwickau.  Chvrchof}'Wmgs  of  an  altar-piece: 
Our  Lady.  ^  Nativity,  Adoration  of  the 
Magi,  Kindred  of  the  Blessed 
Virgin,  Scenes  from  the 
Passion  {the  principal  parts 
hy  Wolgemut^  xcho  here  shows 
himself  a  close  but  inferior 
imitator  of  his  master  Pley- 
demcurff^). 

Numerous  portraits  have  been  ascribed  to  Wolge- 
mut in  different  Galleries,  such  as  the  double  por- 
trait in  the  Amalien  Stift  at  Dessau  (1475),  the 
celebrated  *  Ursula  Tucher'  at  Cassel  (U78),  the 
portrait  of  Canon  Schonborn  in  tlie  Germanisches 
Museum  at  Nuremberg,  and  others,  but  Dr.  Thode 
considers  that  none  are  by  his  own  hand.  Dr. 
Scheibler  ascribes  to  Wolgemut  the  portrait  of  a* 

301 


A  BIOGRAPHICAL  DICTIONARY  OP 


lady  in   the   English   National   Gallery  once   at- 
tributed to  Sigmund  Holbein. 

WOODCUTS. 

niustrations  for  the  '  Schatzbehalter '  published  by 
Anton  Koberger,  and  (in  conjunction  with  W.  Pley- 
denwurff)  for  Hartmann  Schedel's  '  Niiremberg 
Chronicle,'  published  1493-1494. 

St.  SebaUl,  a  woodcut  in  the  first  illustrated  edition 
of  the  'Ode  to  St.  Sebald,'  by  Celtis  (Hofbibliothek, 
Vienna),  and  other  woodcuts  ascribed  to  him  else- 
where (see  '  Campbell  Dodgson :  Catalogue  of 
German  and  Flemish  Woodcuts,'  and  '  Burlington 
Magazine.'  March  1904  ;  and  Dr.  v.  Loga  in  '  Jahrbuch 
d.  K.  Preussischen  Kunstsammlungen,'  xvi.  p.  236). 

Dr.  Thode  also  attributes  to  Wolgeraut  the 
designs  for  some  of  the  windows  in  the  Clnirclies 
of  SS.  James  (1497),  John  (1498),  and  Lorenz  at 
Nuremberg.  A  drawing  in  the  British  Museum 
of  1490— the  first  slietoh  for  the  Almighty  in  glory 
(if  the  'Nuremberg  Chronicle '—is  ascribed  to 
Wolgemut  ;  and  otlier  drawings  at  Basle,  Berlin, 
Erlangen,  London,  Paris,  Pesth,  Vienna,  &c.,  are 
also  given  to  him  by  different  critics.  C.  I). 

WOLLASTON,  J.,  was  born  in  London  about 
the  year  1C72,  and  painted  portraits,  which  had 
the  reputation  of  being  good  likenesses.  Besides 
painting,  lie  performed  on  the  violin  and  flute,  and 
played  at  the  concerts  of  Thomas  Brittun,  the 
Musical  Small-Co.al  Man,  whose  portrait  he  twice 
painted  ;  one  of  these  portraits  was  purchased  by 
Sir  Hans  Sloane,  and  is  now  in  the  National  Por- 
trait Gallery,  transferred  from  the  British  Museum. 
WoUaston  died  in  tlie  Charterhouse  at  an  advanced 

WOLLASTON,  John,  an  English  portrait  painter 
of  the  18th  century,  who  painted  a  portrait  of 
Whitefield  preaching,  which  is  now  in  the  National 
Portrait  Gallery.  It  was  engraved  by  John 
Faber.  Emigrating  to  America,  he  painted  several 
portraits  at  Philadelphia  in  1768.  He  afterwards 
had  a  good  practice  in  Virginia,  where  he  painted 
Washington's  motlier. 

WOLSTENHOLME,  D.  )   Two   English 

WOLSTEN HOLME,  D.  Jdnr.  \  animal  paint- 
ers of  the  19th  century.  The  fatber  practised  at 
Cheshunt,  and  afterwards  at  Turnford,  exhibiting 
at  the  Royal  Academv,  the  Britisli  Institution,  and 
the  Society  of  British  Artists  from  1803  to  1859. 
The  son  was  born  about  1800,  and  practised  in 
London,  exhibiting  at  the  Royal  Academy  between 
1819  and  1849. 

WOLTERS,  Henrietta,  miniature  painter,  was 
born  at  Amsterdam  in  1692.  She  was  the  daughter 
and  pupil  of  Theodorus  van  Pee.  She  afterwards 
studied  miniature  under  Jacques  Christophe  le 
Blond,  and  soon  surpassed  lier  preceptor  in  delicacy 
of  handling  and  beauty  of  colour.  The  portraits 
of  Van  Dyck  were  her  favourite  models.  Her 
talent  soon  attracted  attention,  and  she  was  em- 
ployed by  the  principal  families  of  Amsterdam.  In 
1719  she  married  the  painter  Herman  Wolters 
(born  at  Zwolle  in  1682,  died  1765  or  56),  who 
assisted  her  in  some  of  her  works,  especially  in 
the  draperies.  Peter  the  Great  invited  her  to  St. 
Petersburg,  but  attachment  to  her  o\vn  countrj' 
led  her  to  refuse  his  offer.  An  invitation  from 
Frederick  William,  King  of  Prussia,  met  with 
the  same  answer,  and  she  died  at  Amsterdam 
in  1741. 

WOLTZE,  Bertholp,  German  genre  and  portrait 
painter,  born  at  Ilavelberg,  August  24,  1829  ; 
became  a  pupil  of  the  Berlin  Academy,   and  in 

392 


1854  won  the  prize  enabling  him  to  complete  his 
art  studies  in  Italy  and  France.  He  finally  settled 
at  Weimar,  where  he  became  a  Professor.  Some 
of  his  portraits  in  pastel  found  great  favour.  He 
died  at  Weimar,  November  29,  1896. 

WOLUWE,  Jan  van,  painter  and  illuminator, 
was  one  of  the  earliest  artists  of  tlie  Flemish  school, 
and  flourislied  in  Brabant  towards  the  close  of  the 
14th  century.  He  held  the  post  of  painter  to  the 
ducal  court,  and  ancient  records  show  that  between 
1378  and  1386  he  executed  a  large  number  of 
works  for  the  Duchess  Jeanne  de  Brabant,  among 
them  a  diptych  for  her  oratory  in  Brussels,  but 
none  of  these  liave  survived. 

WONDER,  PiETER  Cristoffel,  was  born  at 
Utrecht  in  1777.  He  studied  at  the  Diisseldorf 
Academy  in  1802-4.  He  visited  England,  and 
worked  in  London  from  1823  to  1831.  His  works 
were  portraits,  family  pictures,  and  conversation 
pieces  ;  he  was  also  a  designer  and  etcher.  He 
was  a  member  of  the  Amsterdam  Academy,  and 
died  in  tbat  city,  July  12,  1852.  Tlie  Rijks  Museum 
lias  a  picture  by  iiim,  and  his  '  Herring  Seller '  is 
in  the  Rotterdam  Museum. 

WONSIEDLER,  Alexander  Josef,  German 
painter,  born  December  18,  1791,  at  Graz  ;  became 
a  pupil  of  Caucig  at  the  Vienna  Academy  ;  painted 
historical  subjects,  and  wrote  on  art.  He  died  at 
Graz,  September  20,  1858. 

WOOD,  Joun,  an  English  engraver,  flourished 
in  Loudon  about  the  year  1745,  and  is  believed  to 
have  received  his  instruction  under  Chatelain. 
He  engraved  several  plates  for  the  set  of  land- 
scapes published  by  Boydell  in  1747.  His  death 
occurred  about  1780.  Among  other  prints  by  him 
we  have  tlie  following  : 

Two  Landscapes ;  after  Gaspard  Poussin. 

Two  Italian  Landscapes  ;  after  Claude  Lorrain. 

A  Fire-light ;  aftfr  Bembrandt. 

Lake  Nemi ;  after  Richard  JVilson. 

A  View  of  Loudon  from  Greenwich  ;  after  Tillemans, 

WOOD,  John,  painter,  was  born  in  London  on 
the  29th  June,  1801.  He  was  tlie  son  of  a  drawing 
master,  showed  an  early  inclination  for  art  himself, 
and  went  successively  to  Sass's  Academy  and  the 
schools  of  the  Royal  Acudemj'.  At  the  Academy, 
in  1825,  he  won  the  gold  medal  ;  in  1834,  the  com- 
mission for  an  altar-piece  for  St.  James's,  Ber- 
mondsey  ;  and,  in  1836,  a  prize  at  Manchester  for 
bis  '  Elizabeth  in  the  Tower,'  and  a  premium  of 
£1000,  in  open  competition,  for  a  '  Baptism  of 
Clirist.'  But  Ills  later  work  did  not  fulfil  the  ex- 
pectations thus  excited,  and  he  died  obscure  on 
tbe  19th  April,  1870. 

WOOD,  John  George,  an  English  water-colour 
painter  and  draughtsman,  was  born  in  the  latter  part 
of  the  18tli  century.  He  practised  in  London,  and 
exhibited  landscapes,  chiefly  Welsh,  at  the  Royal 
Academy  from  1793  to  1811.  He  died  in  1838 
He  published  the  following  illustrated  works; 

'  Plans  for  Labourers'  Cottages.'     1792. 

'  .Six  Views  of  Llangollen.'     1793. 

'  Elements  of  Perspective.'     1799. 

'Lectures  on  Perspective.'     1804. 

'  Tl.e  Principal  Rivers  of  AVales.'     1813. 

'  The  Principles  .  .  of  sketching  .  .  from  Nature.'   1814. 

WOOD,  Lewis  John,  painter,  made  his  first 
appearance  at  the  Royal  Academy  in  1831  with  'A 
Scene  in  Perthshire,'  and  for  many  j-ears  exhibited 
regularly  at  Burlington  House  oil  paintings  of  Eng- 
lish landscape  in  Surrey  and  elsewhere.  In  1836 
he  travelled  on  the  Continent,  and  from  this  date 


PAINTERS  AND  ENGRAVERS. 


seems  to  have  found  liis  best  inspiration  in  the 
towns  and  villages  of  Belgium,  Normandy,  and 
Brittany.  He  became  an  Associate  of  the  New 
Water-Colour  Society  in  1867,  and  a  full  member 
in  1870.  He  exhibited  at  the  Society  fur  the  last 
time  in  1887,  and  resigned  his  membersliip  in  1888. 
Wood  was  a  rapid  and  prolific  worker,  and  inter- 
preted architectural  subjects  with  much  sympathy 
and  skill.  He  exhibited  in  all  forty  paintings  at 
the  Roj'al  Acadein}-,  fifty-two  at  the  British  Insti- 
tution, one  hundred  and  one  at  Suffolk  Street,  and 
two  hundred  and  five  at  the  New  Water-Colour 
Society.     He  died  at  an  advanced  age  in  1901. 

M.  B. 

WOOD,  Matthew,  copyist,  &c.,  held  an  ap- 
pointment in  the  Post  Office.  He  exhibited  at  the 
Eoyal  Academy  between  1841  and  1855,  and  com- 
mitted suicide  in  1855. 

WOOD,  TuoMAS,  was  born  in  London,  April  24, 
1800.  He  was  educated  at  the  Royal  Academy, 
and  afterwards  painted  landscape  in  water-colour. 
Between  1828  and  1853  he  exhibited  eighteen 
drawings  with  the  Academy,  many  being  of  a 
very  great  merit.  In  1835  he  was  appointed  draw- 
ing-master to  Harrow  School,  a  post  which  he  was 
compelled  to  resign  in  1871,  from  loss  of  sight. 
He  died  at  Conisborough  Vicarage,  Yorkshire,  in 
1878,  and  w:ir  buried  in  York. 

WOOD,  William,  miniature  painter.  He  is  be- 
lieved to  have  been  born  at  Ipswich  in  17G8,  and 
to  have  spent  most  of  his  life  in  Sufllolk.  He  prac- 
tised with  success  in  London,  and  exliibited  at  the 
Academy  from  1788  to  1807.  He  took  a  prominent 
part  in  founding  the  Society  of  Associated  Artists  in 
Water-Colours,  in  1808,  and  became  their  president. 
In  1808  he  published  an  es^ay  on  National  and 
Sepulchral  Monuments.  He  died  in  London  in  1809. 

WOODCOCK,  Robert,  marine  painter,  was  bom 
in  or  about  1691,  of  a  gentle  family.  He  had  a 
place  under  the  Government,  but  quitted  it  to 
devote  himself  to  art,  and  confined  himself  to  sea- 
pieces.  He  studied  the  technical  part  of  his  sub- 
ject with  so  much  attention,  that  he  could  model 
a  full-rigged  ship  with  the  utmost  exactness.  In 
1723  he  began  to  paint  in  oil,  and  in  two  years 
is  said  to  have  copied  above  forty  pictures  of  W. 
Van  de  Velde.  He  was  also  an  amateur  musician 
of -some  skill,  and  published  a  few  compositions  of 
his  own.     He  died  of  the  gout,  in  1728. 

WOODFIELD,  Charles,  painter  of  topographical 
landscapes,  was  born  about  1650.  He  was  a  pupil 
of  Isaac  Fuller,  and  in  his  rare  fits  of  industry 
painted  buildings,  antiquities,  and  views.  Ho  died 
in  1724. 

WOODFORDE,  Samuel,  an  English  subject jind 
landscape  painter,  was  born  at  Castle  Gary  in  1764. 
Early  showing  a  talent  for  art,  he  was  enabled  by 
the  help  of  Sir  R.  C.  Hoare  to  enter  the  schools 
of  the  Royal  Acade.ny  at  the  age  of  eighteen. 
Three  years  later,  the  same  patron  sent  hnn  to 
Italy  where  he  studied  until  1791.  Returnmg  to 
Englknd,  he  worked  for  Boydell's  Shakespeare 
Oailery,  and  painted  fancy  subjects  and  portraits 
His  'Forest  scene  from  Titus  Andronicus,'  pamted 
for  Boydell,  was  engraved  by  Anker  Smith.  But 
though  very  laborious,  success  came  to  him  slowly. 
In  1800  he  was  elected  an  Associate  of  the  Aca- 
demy, where  he  had  exhibited  for  several  years, 
and  in  1807  a  full  member.  In  1815  he  married, 
and  soon  after  set  out  for  Italy.  His  career  was 
cut  short  by  a  fever,  and  he  died  at  Ferrara  in 
1817.     There  are  by  him  : 


London. 


-ff.  Academy. 
S.  Kensington. 


Dorinda  wounded  by  Sylvia. 
Pan  teaching  Apollo.     1790. 
( Water-colours.) 

WOODHOUSE,  John  Thomas,  an  English  ama- 
teur painter  of  portraits  and  subjects,  was  born  in 
1780.  He  was  educated  at  Caius  College,  Cambridge, 
where  he  graduated  M.D.,  though  he  never  practised 
medicine.  His  reputation  as  an  artist  was  acquired 
by  his  portraits  of  his  friends  and  contemporaries, 
and  he  exhibited  a  few  subject  pictures  at  the  Royal 
Academy.  He  died  at  Cambridge  in  1845.  There 
are  portraits  by  him  of  the  Rev.  Chauncy  Hare 
Townshend  and  his  sister,  and  of  Henry  Hare 
Townshend,  at  South  Kensington. 

WOODING,  P ,  an  English   line  engr.aver, 

practised  towards  the  close  of  the  18th  century, 
and  was  the  master  of  William  Bromley. 

WOODIXGTON,  William  Frederick,  painter 
and  sculptor,  was  born  at  Sutton  Coldfield,  War- 
wickshire, on  February  10,  1806.  In  1815  he 
came  to  London  to  study  engraving,  and  in  1818 
was  articled  to  Robert  William  Sievier.  Both 
master  and  pupil  abandoned  engraving  in  favour 
of  sculpture,  and  from  1825  to  1882  Woodington 
was  a  constant  exhibitor  of  sculpture  at  the  Royal 
Academy,  his  work  consisting  chiefly  of  fancy 
figures  and  reliefs  of  sacred  and  poetical  subjects. 
The  panels  of  the  Nelson  Monument  in  Trafalgar 
Sipiare,  the  two  bas-reliefs  in  the  south  chapel  of 
St.  Paul's  Cathedral,  and  the  six  statues  on  the 
new  Exchange  buildings  at  Liverpool  are  ex- 
amples of  his  power  as  a  sculptor.  As  a  painter 
he  sho%ved  no  mean  ability,  the  subjects  he  chose 
being  of  the  same  type  as  his  exhibits  of  sculpture. 
In  1853  'The  Angels  directing  the  Shepherds  to 
Bethlehem '  was  hung  at  the  Royal  Academy, 
followed  in  1854  by  'Job  and  his  Friends,'  in 
1855  by  an  illustration  to  Dante,  and  in  1856  by 
a  picture  of  Judith  and  her  maid.  For  some 
years  Woodington  was  Curator  of  the  Academy 
School  of  Sculpture,  and  was  elected  an  Associate 
in  1876.  He  died  at  Brixton  on  December  24, 
1893,  and  was  buried  in  Norwood  Cemetery. 
'  M.  H. 

WOODMAN,  Richard,  an  English  engraver,  was 
born  about  the  middle  of  the  18th  century.  He 
worked  in  London,  in  stipple,  up  to  about  1810. 
Amongst  his  best  plates  are : 

The  Choice  of  Penelope  ;  after  J.  Riley. 

Children  at  Play ;  after  JV.  I'oussin. 

WOODMAN,  Richard,  engraver  and  draughts- 
man, was  born  in  London  in  1784,  and  was  the  son 
of  the  above.  When  about  fifteen  he  entered  the 
studio  of  R.  M.  Jleadows,  a  stipple  engraver,  where 
besides  learning  to  engrave  he  received  a  few  les- 
sons in  colouring  from  a  fellow-pupil.^  After  leav- 
ing Meadows  he  was  employed  for  a  time  in  colour- 
ing the  engraved  fac-similes  of  Westall's  drawings. 
In  1808  he  accepted  an  offer  from  Wedgwood  to 
superintend  the  engravers'  department  at  Etruria, 
but  did  not  remain  there  long.  On  returning  to 
London  he  was  employed  on  large  sporting^  plates, 
and  engraved  several  subjects  in  line  for  Knight's 
'  Pictorial  Gallery.'  Towards  the  end  of  his  life 
lie  relinquished  the  graver  for  water-colour  and 
miniature  p.unting.  He  died  December  15,  1859. 
His  best  plate  is  'The  Judgment  of  Paris,'  after 
Rubens. 

WOODWARD,  George  M.,  an  English  carica- 
turist, born  in  the  second  half  of  the  18th  century. 
His  earliest  works  appeared  in  1792.  In  1797 
Rowlandson   engraved   his   'Cupid's   Magic    Lan- 

393 


A  BIOGRAPHICAL  DICTIONARY  OF 


thorn.'  He  caricatured  Mrs.  Billington  in  a  design 
called  'The  Musical  Mania  for  1802.'  He  led  an 
irregular  life,  and  died  in  a  state  of  destitution  in 
an  inn  in  Bow  Street,  London,  in  1809.  Besides 
his  separate  plates,  he  published  the  following 
illustrated  works : 

*  Eccentric  E.xcursions  in  EuglanJ.*     1793. 
'  Le  Brim  travestied.'     1800. 

'  The  Caricature  Magazine.'     1807. 

*  Comic  "Worlds  in  Prose  and  Poetry.'     1308. 

WOODWARD,  Thomas,  animal  painter,  was 
horn  at  Pershore,  Worcestershire,  in  1801.  He 
was  a  pupil  of  Abraham  Cooper,  R.A.  At  the  age 
of  fifteen  he  began  to  exhibit  at  the  British  Institu- 
tion, while  from  1822  to  the  j-ear  of  his  death  he 
was  seldom  absrnt  from  the  Academy.  He  died 
at  Worcester  in  1852.     Works  : 

Turks  with  their  Chargers.     1823. 

The  Chariot  Kace.     1829. 

Horse  pursued  by  Wolves.     1831. 

Detacliment  of   Cromwellian  Cavalry  surprised   in  a 

Pass.     1841.  A  Tempting  Present. 

Welsh  Shepherdess  and  her  Dogs.     1645. 
Mazeppa,     1851.  Battle  of  Worcester. 

WOOLF,  Michael  Angelo,  British  painter,  born 
in  London  in  1837 ;  went  to  New  York  when  a 
child  ;  became  an  actor,  but  iinally  devoted  him- 
self to  graphic  art  ;  contributed  sketches  to  various 
American  periodicals,  and  tinally  made  his  name  as 
a  genre  painter;  worked  at  Bridgport  (U.S.A.); 
painted  'The  Little  Housekeeper,'  'How  it  Hap- 
pened.'    Died  in  America,  March  4th,  1899. 

WOOLLETT,  William,  an  eminent  English  en- 
graver, was  born  at  Maidstone,  August  15,1735.  His 
father,  by  descent  a  Dutcliman,  was  a  flax  dresser, 
but  a  lottery  ticket  in  which  he  had  a  share  having 
drawn  a  prize  of  £5000,  ho  on  the  strength  of  it 
took  a  public-house  called  the  'Turk's  Head.'  Here 
young  Woollett  is  said  to  have  determined  his 
future  career  by  scratching  a  clever  Turk's  Head 
on  a  pewter  pot.  His  father  sent  him  to  London, 
binding  him  apprentice  to  an  obscure  engraver, 
John  Tinney  of  Fleet  Street,  but  he  owed  his  fine 
style  to  nothing  but  his  native  genius.  By  an  in- 
telligent union  of  the  point  and  the  burin,  he  car- 
ried landscape  engraving  to  a  perfection  unknown 
before  his  time,  and  still  unsurpassed.  His  fore- 
grounds are  as  deep  and  vigorous  as  his  distances 
are  tender  and  delicate.  In  his  exquisite  prints 
from  Richard  Wilson,  he  has  impressed  on  the 
copper  the  very  mind  and  feeling  of  that  classic 
painter.  The  talent  of  Woollett  was  not,  however, 
confined  to  landscape  ;  he  engraved  historical  sub- 
jects and  portraits  with  equal  success.  Of  his  his- 
torical plates,  the  two  best,  perhaps,  are  those  after 
West's  '  Death  of  Wolfe,'  and  '  Battle  off  Cape  La 
Hogue.'  He  belonged  to  the  St.  Martin's  Lane 
Academy,  and  in  1766  was  received  into  the  In- 
corporated Society  of  Artists,  to  which  he  sub- 
sequently became  secretary.  On  November  27, 
1775,  he  was  appointed  engraver  to  the  king. 
Woollett  lived  for  many  years  at  11  Green  Street, 
Leicester  Square,  and  later  in  Charlotte  Street, 
Rathbone  Place.  It  is  said  that  he  was  in  the 
habit  of  firing  a  cannon  from  the  roof  of  his  house 
when  he  had  finished  an  important  plate.  His 
character  as  a  man  was  exemplary.  Naturally 
modest  and  amiable,  he  never  censured  the  works 
of  others,  or  omitted  to  point  out  their  merit.  He 
died  in  London,  May  23,  1785,  from  the  etfects  of 
an  injury  received  some  years  before  while  playing 
at  Dutch  Pins.  He  was  buried  in  Old  St.  Pancr.as  I 
394 


Churchyard,  a  plain  tombstone  marking  his  resting- 
place.  On  this  stone  some  anonymous  versifier 
wrote  the  following  in  pencil : 

"  Here  Woollett  rests,  expecting  to  be  saved  ; 
He  graved  well,  but  is  not  well  engraved." 

The  distich  may  have  had  some  part  in  bringing 
about  a  subscription  for  a  fit  memorial.  This  was 
executed  by  Thomas  Banks,  R.A.,  and  was  placed 
in  the  west  cloister  of  Westminster  Abbey.  The 
following  is  a  list  of  Woollett's  more  important 
plates : 

George  III. ;  after  Allan  Bamsay. 

Peter  Paul  Rubens;  after  Van  hyck. 

The  Merry  Villagers ;  after  Thomas  Jones. 

.55neas  and  Dido  ;  after  Jones  and  Mortimer. 

A  Landscape,  with  Buildings  ;  after  John  Smith  ;  the 
'  Second  Pieraium  '  print. 

Another  Landscape ;  after  George  Smith  ;  the  *  First 
Premium  '  print. 

The  Hay-makers  ;  after  the  same. 

The  Apple-gatherers  ;  after  the  same. 

The  Rural  Cot ;  after  the  same. 

The  Spanish  Pointer  ;  after  Stuhbs. 

A  View  of  Snowdon  ;  after  Wilson. 

Celadon  and  Amelia  ;  after  the  same. 

Ceyx  and  Alcyone  ;  after  the  same. 

Cicero  at  his  Villa ;  after  the  same. 

Solitude  ;  after  the  same  :  by  Woollett  and  Ellis. 

Niobe  ;  after  the  same. 

Phaeton  ;  after  the  same. 

Apollo  and  the  Seasons  ;  after  Wilson  and  3fortimer. 

Meleager  and  Atalauta  ;  after  the  same. 

The  '  Jocund  Peasants '  and '  Merry  Cottagers  ' ;  after  C. 
Dusart ;  a  pair. 

The  Fishery  ;  after  Wright. 

The  Boar-hunt ;  after  Pillement. 

Diana  and  Actseon  ;  after  Fil.  Lauri. 

A  pair.  Morning  and  Evening  ;  after  Swanevelt. 

Landscape  with  a  Wiudmill ;  af'ter  Solomon  Euysdael. 

A  Laudscape,  with  figures  and  a  Waterfall ;  after  Ann. 
Carracci. 

IMacbeth  and  the  Witches ;  after  Zuccarelli. 

The  Enchanted  Castle ;  after  Claude :  by  Woollett  and 
J'ivares. 

The  Temple  of  Apollo  ;  after  the  same. 

Roman  Edifices  in  ruins  ;  after  the  same. 

Jacob  and  Labau,  or, '  Le  Grand  Pont ' ;  after  the  same. 

The  Death  of  General  Wolfe  ;  after  West. 

The  Battle  of  La  Hogue  ;  after  the  same. 

Charles  11.  landing  at  Dover ;  after  the  same  (only  the 
etching  is  by  Woollett;  the  plate  was  finished  by 
William  Sharp). 

The  Storm  ;  after  Joseph  Vernet. 

For  a  complete  list  of  Woollett's  plates  and 
further  details  of  his  career,  see  the  'Catalogue 
Raisonnd  of  the  engraved  works  of  William  Wool- 
lett '  (London,  1885),  by  Louis  Fagan,  of  the  British 
Museum. 

WOOLNER,  Thomas.  Although  the  best-known 
work  of  this  artist  was  in  sculpture,  yet  the  few 
paintings  that  he  executed,  and  the  exquisite 
drawings  he  produced,  render  it  desirable  that  he 
should  have  mention  in  this  volume.  He  was 
born  in  Suffolk  in  1825,  educated  at  Ipswich,  and 
from  his  earliest  days  was  fond  of  modelling.  His 
connection  with  the  pire-Raphaelite  Brotherhood, 
of  which  he  was  one  of  the  original  members,  and 
liis  close  friendship  with  Rossetti, Stephens,  Holman 
Hunt,  Madox  Brown,  and  W.  Bell  Scott,  will 
always  give  a  certain  attraction  to  his  work,  and, 
while  his  sculpture  does  not  fall  within  the  scope 
of  this  work,  his  drawing  of  'Guinevere,'  'Godiva,' 
'Pygmalion,'  and  'The  Flute  Player'  mark  him 
as  a  man  of  peculiar  charm  in  draughtsmanship, 
possessing  an  exquisite  quality  of  refinement,  not 
always  clearly  apparent  in  his  work  in  sculpture. 
Personally,  he  was  an  impetuous  and  over-energetic 


PAINTERS  AND  ENGRAVERS. 


character,  insufficiently  attentive  to  the  ordinary 
conventionalities  of  speech,  and  too  much  inclined 
to  speak  without  premeditation  as  to  offences 
which  excited  his  derision.  He  was  not,  therefore, 
a  popular  man,  but  his  truthfulness  and  originality 
were  highly  appreciated  by  those  who  knew  him. 
He  married  in  1864,  and  died  in  1892,  leaving 
behind  him  two  sons  and  four  daughters. 

WOOLNOTH,  Thomas,  an  English  engraver, 
was  born  in  1785.  He  engraved  many  theatrical 
portraits  after  Wageman.  He  died  after  1836. 
Amongst  his  plates  are : 

The  Infant  Saviour ;  after  Correggio. 
Portrait  of  Gevartius  ;  o/Vcr  Van  Dyck, 
Ecce  Homo  ;  after  Guido  (?). 

WOOTTON,  John,  an  eminent  English  painter 
of  landscapes  and  animals,  was  born  towards  the 
end  of  tlie  17th  century.  He  was  a  scholar  of 
Jan  Wijck,  and  became  a  distinguished  artist  in 
the  branch  which  he  principally  pursued.  He 
excelled  in  sporting  subjects,  and  in  painting  dogs 
and  horses.  He  was  much  employed  at  New- 
market in  painting  the  portraits  of  racers.  Seven 
pictures  of  Fox-hunting  by  him  were  engraved  by 
Canot.  He  painted  a  portrait  of  William,  Duke  of 
Cumberland,  with  the  routed  army  of  the  Pretender 
in  the  background,  which  Baron  engraved.  He 
painted  excellent  landscapes  in  tlie  styles  of  Claude 
Lorrain  and  Gaspard  Poussin.  He  designed  some 
of  the  illustrations  in  the  first  edition  of  Gay's 
'Fables,'  published  in  1727.  In  his  latter  years 
his  sight  failed,  and  he  died  in  liOndon  in  1765. 
His  works  are  numerous  in  English  country  houses. 

WORLIDGE,  Thotias,  an  English  portrait 
painter  and  etcher,  was  born  in  1700.  fie  first 
practised  at  Bath,  drawing  miniature  portraits  on 
vellum,  in  pencil  or  Indian  ink.  He  afterwards 
painted,  in  King  Street,  Covent  Garden,  portraits 
in  pastel  and  oil,  including  those  of  Mary  Squires, 
Elizabeth  Canning,  and  Kitty  Fisher.  Meeting, 
however,  with  little  success,  he  abandoned  paint- 
ing and  devoted  himself  to  etching.  He  etched 
'  The  Theatre  at  Oxford  as  it  appeared  on  the 
Installation  of  the  Earl  of  Westmoreland,'  in  1761; 
a  work  containing  a  multitude  of  heads  and  figures, 
mostly  portraits,  including  one  of  the  artist  him- 
self. Worlidge  adopted  a  style  modelled  on  that 
of  Rembrandt.  His  prints  are  very  numerous, 
but  chiefly  consist  of  Rembrandtesque  heads, 
and  portraits.  In  1768,  two  j'ears  after  his 
death,  a  series  of  one  hundred  and  eighty-two  en- 
gravings of  antique  gems  by  him  was  published. 
A  complete  set  of  lirst  states  on  satin  is  now  a 
valuable  rarity.  He  has  also  left  an  etching  of 
'Marcus  Tullius  Cicero,'  after  the  marble  at  Oxford. 
He  spent  part  of  his  later  years  at  Bath,  but  died 
at  Hammersmith  September  23,  1766,  having  ex- 
hibited portraits  with  the  Free  Society  in  that  same 
year. 

WORMS,  Anton  von.    See  Woensam. 

WORNUM,  Ralph  Nicholson,  was  bom  at 
Thornton,  near  Durham,  in  1812.  Originally  in- 
tended for  the  bar,  he  chose  art  as  his  profession 
when  he  was  twenty-two,  and  studied  for  five 
years  in  Munich,  Dresden,  Rome,  and  Paris.  He  set- 
tled in  London  in  1840,  competed  at  the  first  West- 
minster Hall  Competition,  (where  he  was  honour- 
ably mentioned,)  and  in  1846  first  printed  that 
excellent  catalogue  of  the  National  Gallery  which 
has  served  as  the  model  for  so  many  later  compil- 
ations of  the  same  kind.  In  1856  he  was  appointed 
keeper  of  the  Institution  to  which  he  had  already 


done  so  great  a  service.  After  his  catalogue,  nis 
best  known  works  with  the  pen  are  '  Epochs  of 
Painting,'  and  a  '  Life  of  Holbein.'  He  died  ia 
London  on  the  15th  of  December,  1877. 

WOROBIEFF,  Maxime  Nikifor6witsch,  a  Rus- 
sian painter,  was  bom  in  1787,  and  was  a  pupil 
of  Semen  F.  Schtschedrin  and  AlexejefE,  but  im- 
proved himself  by  travels  in  the  East  and  Italy. 
In  1825  he  was  appointed  professor  of  perspective 
to  the  St.  Petersburg  Academy,  and  founded  therein 
a  school  of  landscape  painting,  distinguished  by 
its  daring  colour.  He  died  in  1855.  Among  his 
works  the  following  may  be  noted  : 

Quay  of  the  Neva  on  a  Summer's  Night. 

View  of  Moscow  in  1813.     {Hermitage.) 

View  of  Constantinople. 

The  Subterranean  Chapel  at  Bethlehem.     {Hermitage.) 

Interior  of  the  Church  of  Golgotha.  {Hermitage.)   18i4. 

Gateway  of  the  Church  of  the  Redeemer  at  Jerusalem. 

View  from  the  Sabine  Mountains. 

WORSDALE,  James,  an  English  portrait  painter, 
was  the  scholar  and  reputed  natural  son  of  Sir 
Godfrey  Kneller,  who  dismissed  him  for  marrying 
his  wife's  niece  without  his  consent.  He  never 
arrived  at  great  excellence  in  art,  but,  being  gifted 
with  humour  and  with  a  happy  disposition,  he 
made  friends,  and  was  appointed,  by  their  influence, 
master  painter  to  the  Board  of  Ordnance.  He 
painted  a  full-length  portrait  of  George  II.,  and 
presented  it  to  the  Yarmouth  Corporation.  He 
published  several  poetical  pieces,  songs,  (fee,  be- 
sides some  dramatic  productions.  He  died  in 
London  in  1767,  leaving  instructions  that  his 
tombstone  should  be  thus  inscribed  : 

"  Eager  to  get,  but  not  to  keep,  the  pelf, 
A  friend  to  all  mankind  except  himself." 

His  son,  also  a  painter,  succeeded  him  at  tlie 
Board  of  Ordnance,  and  died  in  1779. 

WORSEY,  Thomas,  an  English  flower  painter, 
born  in  1829.  In  his  early  years  he  worked  at 
Bimiingham  as  a  painter  on  papier-mache.  Aspir- 
ing to  a  higher  art,  he  devoted  himself  to  flower 
painting  about  1850,  and  obtained  a  good  practice, 
exhibiting  at  some  of  the  London  exhibitions.  His 
death  occurred  at  Birmingham  in  1875,  shortly 
before  which  he  had  been  elected  a  member  of  the 
Royal  Birmingham  Society  of  Artists. 

WORST,  Jan,  a  Dutch  draughtsman  and  painter, 
was  born  in  1625.  In  company  with  his  friend 
Jan  Lingelbach,  he  passed  some  time  in  Italy, 
making  drawings  of  the  scenery  in  bistre  and  black 
chalk.  Some  of  these  he  afterwards  used  for 
pictures.  He  died  in  Holland  in  1680. 
_  WORTHINGTON,  William  Henry,  an  English 
line  engraver,  was  born  about  1795.  Specimens  of 
his  work  will  be  found  in  '  British  Museum  Marbles,' 
and  in  Pickering's  'History  of  England.'  He  also 
engraved  after  Stothard.  He  was  still  active  as 
late  as  1833. 

WORTMAN,  Christian  Albrecht,  was,  accord- 
ing to  Huber,  a  native  of  Pomerania,  and  flourished 
about  the  year  1730.  He  was  instructed  in  en- 
graving by  Wolfgang,  and  at  the  age  of  twenty- 
five  was  invited  to  the  court  of  Hesse-Cassel, 
where  he  was  appointed  engraver  to  the  Land- 
grave. In  1727  he  went  to  St.  Petersburg,  where 
he  engraved  the  portraits  of  several  princes  and 
people  about  the  court.  Among  others,  we  may 
name  the  following  plates  by  him  : 

Anna,  Empress  of  Russia  ;  after  L.  Caravaque. 

Alexis,  son  of  Peter  I.  ;  after  Lundden. 

Ernst  Ludwig,  Landgrave  of  Hesse-Darmstadt. 

395 


A   BIOGRAPHICAL  DICTIONARY  OF 


WOUTERS,  Frans,  was  born  in  Lierre,  Bra- 
bant, October  12,  1614.  After  receiving  some 
instruction  in  art,  he  was  sent  to  Antwerp,  to  the 
school  of  Rubens,  where  he  applied  himself  to 
landscape  painting.  His  subjects  were  generally 
taken  from  the  Forest  of  Soignies,  near  Brussels, 
which  he  filled  with  an  historical  and  fabulous 
population.  There  are  altar-pieces  by  him  in  the 
Belgian  churches,  notably  a  '  Christ  giving  the 
Keys  to  St.  Peter,'  in  St,  Peter's  at  Louvain  ;  and 
a  '  Visitation,'  in  the  churcli  of  the  Augustines, 
Antwerp ;  but  he  is  less  successful  in  large  pic- 
tures than  in  small.  He  was  employed  as  court 
painter  by  the  Emperor  Ferdinand  II.,  but  coming 
to  England  in  1637,  and  the  Emperor  dying  in 
the  same  year,  he  was  appointed  cliief  painter  to 
the  Prince  of  Wales,  afterwards  Charles  II.  On 
the  breaking  out  of  the  civil  war  he  returned  to 
Belgium,  and  was  in  1648  appointed  director  of  the 
Antwerp  Academy,  where,  in  1659,  he  was  killed 
by  the  accidental  discharge  of  a  gun.  Four  land- 
scapes and  some  other  subjects  were  etched  by 
Frans  Wouters.  Additional  works  : 
Copenhagen,  Gallery,  Venus  and  Adonis. 
Frankfort.  Staedel  Inst.  A  Oonfl.igration  by  Moonlight 
(with  the  forged  signature  of 
A.  Van  der  Neer). 
Vienna.  Gallery.     The  Huntress  Diana.     1630. 

WOUTERS,  GoMAR,  historical  and  landscape 
painter,  was  a  native  of  Flanders,  but  practised 
chiefly  at  Rome.  He  flourished  towards  the  end 
of  the  17th  century.  There  are  some  large  prints 
by  him,  representing  views  in  and  near  Rome,  with 
figures.  Their  style  resembles  that  of  Callot,  and 
they  are  inscribed  (?.  Wouters,  Cavalier,  del.  et 
sculp. 

WOUTERS,  Jakob,  called  also  Vcsmeee  and 
VoSMAER,  was  born  at  Delft  in  1584.  He  was  an 
excellent  painter  of  landscapes,  which  he  quitted, 
however,  for  fruit  and  flower  painting.  He  went 
to  Italy,  but  returned  to  Delft,  where  he  married, 
became  Dean  of  the  Guild  of  St.  Luke  in  1633,  and 
died  in  1641.  One  Daniel  Vosmaer,  perhaps  his 
son,  painted  landscapes,  views,  &o.,  and  flourished 
at  Delft  in  1654.  He  more  than  once  painted  the 
disastrous  explosion  of  tliat  year.  An  examjile  in 
the  Delft  Town-hall  is  signed  Daniel  Vosmaer. 

WOUTERSZ,  Johannes,  an  obscure  Dutch 
painter,  born  at  Oudewater.  His  name  occurs  as 
a  citizen  of  Amsterdam  in  the  civic  records  of 
1542.  In  the  Rijks  Museum  at  Amsterdam  there 
is  a  picture  by  him,  representing  the  office  of  a 
Jurisconsult.  Tlie  half-obliterated  inscription  reads: 
johan:  i:  WOVT  :  an:  15.  . 

WOUTIERS,  (or  WOUTERS,)  Michelina,  or 
Magdalena,  a  native  of  Mona  or  Berghen,  and 
a  portrait  painter  of  the  Flemish  school,  flour- 
ished in  the  first  half  of  the  17th  century.  No 
details  concerning  her  are  known,  but  in  the  Vienna 
Gallery  are  two  half-length  figures  of  saints  (a 
'  S.  Joachim  '  and  a  '  S.  Joseph  '),  which  were  long 
erroneously  ascribed  to  Frans  Wouters.  They 
were  restored  to  their  rightful  author  by  Herr  v. 
Engerth  in  the  new  Catalogue.  Michelina's  por- 
trait of  the  Spanish  General,  Andres  Cantelmo,  was 
engraved  by  Pontius  in  1643. 

WOUWERMAN,  Jan,  was  born  at  Haarlem  in 
1629.  He  was  the  third  son  of  Paul  Joosten,  and 
the  younger  brother  and  pupil  of  Philips  Wouwer- 
nian.  He  was  admitted  into  the  Guild  of  St.  Luke 
in  1655.  He  painted  so  much  in  the  style  of 
Wijnants  that  his  pictures  are  often  ascribed  to 

396 


that  master.  He  died  at  Haarlem  in  1666.  The 
Rotterdam  Museum  has  a  sandy  landscape  by  him. 
It  is  signed  J.  W. 

WOUWERMAN,  Paul,  was  the  son  of  Pieter 
Wouwerman,  and  was  born  at  Haarlem  in  1657. 
He  was  educated  in  art  at  Antwerp,  where  he 
afterwards  became  a  Carthusian  monk,  and  where 
he  lived  until  he  was  nearly  a  hundred  years  old. 
He  was  inscribed  on  the  registers  of  St.  Luke  in 
1669-70.  He  died  about  1755.  There  has  been 
some  dispute  as  to  whether  he  were  the  son  of 
Pieter  or  Philips  Wouwerman,  but  the  evidence 
favours  the  statement  made  above. 

WOUWERMAN,  Philip  was  born  at  Haarlem, 
where  he  was  baptized  on  May  24,  1614.  His 
father,  Paul  Joosten  WonwERMAN,  was  a  native 
of  Alkmaar  and  a  mediocre  painter.  lie  married 
three  times,  and  had  three  sons  by  the  third  wife, 
all  of  whom  became  painters.  Philip  was  the 
pupil  of  his  father  and  of  Jan  Wijnants.  At  the 
age  of  nineteen  he  eloped  with  a  young  woman  of 
the  old  religion  to  Hamburg,  where  he  married 
her.  At  Hamburg  he  stayed  for  a  time,  working 
in  the  studio  of  Everard  Decker,  but  in  1640  we 
find  him  back  in  Haarlem,  and  received  into  the 
Guild  of  St.  Luke.  In  1643  he  buried  one  of  his 
children.  In  1642  a  pupil  of  his  was  inscribed  on 
the  Guild  books ;  in  1645  he  was  Vinder  of  the 
corporation;  in  1655  we  again  hear  of  a  pupil  of 
his  being  received  by  the  Guild  ;  and  then,  on  May 
19,  1668,  we  find  the  record  of  his  own  funeral, 
which  cost  thirty-seven  florins.  His  wife  survived 
him  less  than  two  years,  being  buried  on  January 
22,  1670.  Her  funeral  cost  twenty-one  florins. 
These  sums,  considerable  for  the  time,  seem  to 
negative  the  idea  that  the  last  years  of  Wouwerman 
were  passed  in  poverty.  It  is  said  that  a  priest, 
one  Cornells  Cats,  helped  him  out  of  his  early 
difficulties,  and  set  him  on  the  road  to  comparative 
ease,  by  the  loan  of  a  considerable  sum  early  in  his 
married  life,  and  that  the  painter  never  ceased  to 
show  his  gratitude.  In  his  short  life  of  forty-nine 
years,  Wouwerman  did  a  prodigious  amount  of 
work.  Even  if  we  deny  his  authorship  of  one  half 
the  pictures  ascribed  to  him  in  the  better  European 
collections,  we  leave  him  with  at  least  600,  or 
about  one  for  every  three  weeks  during  his  pro- 
ductive years.  His  popular  reputation  depends 
chiefly  on  his  horses,  but  in  his  finest  works  he 
shows  himself  a  consummate  master  of  composition, 
of  aerial  perspective,  and  of  artistic  anatomj'.  As 
a  natural  colourist,  too,  and  as  a  technical  painter 
he  has  had  few  equals.  Among  his  pupils  were 
his  brother  Pieter,  Koort  Witholt,  Nicolaas  Ficke, 
Jacob  Warnars,  and  Anthonie  de  Haen.  The 
following  list  is  confined  to  his  better  and  more 
accessible  pictures: 

Amsterdam.  B.  Museum.    The  Victorious  Peasants. 
„  „  The  'Wliite  Horse. 

„  „  The  Drinking  Place. 

„  „  The  Camp. 

{And  nine  vwre.) 
Berlin.  Museum.     The  Hiding  School. 

„  „  A  Hunting  Meet. 

„  „  Horses  before  a  Smithy. 

(And  three  more.) 
Brussels.  .Ihiseum.     Episode  of  the  Chase. 

Dresden.  Gallery.    Armed  Peasants  fighting  with 

Cavalry  (known  as  '  Le  Pil- 
lage des  Reiters'). 
„  „  A  Burning  "Windmill. 

„  „  The   Stable   of   an   Inn,   with 

Cavaliers  about  to  mount  and 
etart. 


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PAINTERS  AND  ENGRAVERS. 


Dresden.  Gallery.    *  La  Cascade ' :  a  "Waterfall  and 

a  Waggon  with  five  Horses. 
^  „  The  Farrier's  Shop :  *  La  grotte 

du  Mar^chal.' 
^  „  Camp  near  a  River. 

{And  about  sixty  others.) 
Glasgow.  Gallery.     The  jVIarket  Cart. 

„  „  Landscape^  with  Horsemen. 

„  „  Halt  of  Travellers. 

„  „  Hawking. 

„  ,,  Horse-shoeing. 

London.        BucKngham  \  ^^^  ^^^  ^^,^^ 

„  „  The  Sutler's  Booth  (ff>v/_/i)ic). 

„  „  A  Hunting  Party. 

^  „  A  Cavalry  Skirmish. 

„  „  A  Fair  in  the  Outskirts  of  a 

Town  (veryfne). 
„  „  The  Hawking  Party. 

„  ,,  The  Camp  Farrier. 

„  ,,  Travellers  robbed  by  Brigands. 

„  Dultcich  Gall.    Halt  of  Sportsmen. 

„  „  Selling  Fish  at  Scheveuiugen. 

„  „  Halt  of  Travellers. 

,1  »,  Three  Cavaliers  at  a  'Wayside 

Inn. 
„  „  Two  Horsemen  near  a  Foun- 

tain, and  a  Servant-maid. 
„  ,,  Peasants  in  the  Fields. 

„  „  A  Courtyard  with  a  Farrier. 

„  „  Halt  of  a  Hunting  Party. 

„  „  The  Return  from  Hawking. 

„  Kai.  Gallery.    Interior  of  a  Stable  (I'fj-yjirtf). 

„  „  On  the  Sea-sliore  (do. ). 

„  „  Halt  of  Officers  ( known  as  '  La 

Belle  Laitiere  ' ;  very  Jiiie) 
„  „  Gathering  Faggots. 

„  „  Landscape      with      four-horse 

Chariot. 
„  „  A  Battle  (very  Jine). 

„  „  The  Stag  Huiit. 

Munich.  Gallery.     The  Stag  Hunt. 

„  ,i  Interior  of  a  Stable. 

(And  fourteen  others.) 
Paris.  Louvre.     The  '  Bojuf  Gras  '  in  Holland. 

„  „        Departure  of  a  Hawking  Party. 

„  „        The  Stag  Hunt. 

„  „        The  Ridiug  School. 

,,  „         Interior  of  a  Stable. 

„  „        Cavalry  Combat. 

Petersburg.    Hermitage.    Riding  School  in  the  open  air. 
„  „  Travelling  Merchants. 

„  „  Halt  of  Travellers. 

„  „  Travellers  on  the  Sea-shore. 

,,  „  Soldiers  and  Feasants  fighting, 

burning  mills  in  the  distance. 
„  „  Departure  for  the  Chase. 

„  „  The    Stag  Hunt   (one   of   the 

chief  pictures  of  the  master). 
ft  „  Another  St.ag  Huut. 

„  „  Landscape,  with  ATomau  cross- 

ing a  Ford. 
{And  forty  more.) 
Vienna.  Gallery.     An  Attack  of  Robbers. 

„  „  Ridiug  School   and   'Watering 

Place  for  Horses. 
I,  „  Robbers  attacking  Travellers. 

„  „  Halt  of  Huntsmen. 

»  „  Landscape.  \y.  A. 

WOUWERMAN,  Pieter,  was  the  son  of  'Paul 
Joosten,  and  the  younger  brother  of  Phih'p  Wou- 
werman.  He  was  received  into  the  Guild  of  St. 
Luke  at  Haarlem  in  1G46.  He  manied  in  1654, 
and  had  cliildren.  He  must  have  visited  France, 
for  in  some  of  his  pictures,  views  in  Paris  are  intro- 
duced. It  is  possible  also  that  he  lived  for  a  time 
in  Antwerp,  where  his  son  Paul  was  apprenticed. 
Pieter  Wouwerman  died  about  1683.  His  pictures 
are  often  ascribed  to  his  brother  Philip. 
Amsterdam.  R.  Museum.     Assault  on  Koevorden.     1672. 

„  „  A  Hunting  Party. 

Berlin.  Museum.    The  Siege  of  a  Town. 


Glasgow.  Gallery.     A  Halt,  after  Rain. 

London.    Dulwich  Gall.    A  Sandbank  and  Travellers. 

„  },  Seashore,  with  Figures. 

Paris.  Louvre.    'View  of  the  Gate  and  Tower  of 

Nesle,  Paris. 

■WREN,  Sir  Christopher,  was  born  at  East 
Knoyle,  'Wilts,  on  October  20, 1632;  died  in  London, 
February  25,  1723.  He  demands  a  place  in  these 
pages  by  his  doings  as  an  engraver.  At  one  time 
it  was  thouglit  by  some  critics  that  'Wren  was  the 
actual  inventor  of  mezzotint.  That  he  worked  at 
it,  and  worked  well,  is  pretty  certain,  but  the  time 
of  his  doing  so  was  probably  no  earlier  than  1662- 
1665.  Delaborde  supposes  him  to  have  become 
acquainted  with  the  secret  then  possessed  by  Prince 
Rupert,  through  Evelyn.  The  plates  ascribed  to 
Sir  Christopher  are  only  two  in  number  ;  both  are 
heads  of  negroes.  Of  one  Delaborde  gives  a 
capital  facsimile,  by  Girard.  The  other  is  a  smaller 
plate.  Impressions  of  both  are  in  the  British 
Museum. 

WRENK,  Franz,  engraver,  was  born  at  Stra- 
hain,  in  Carinthia,  in  1766.  He  learnt  his  art 
from  J.  Jacobe  of  Vienna,  and  was  employed  as 
professor  at  the  Engineers'  Academy  in  that  city. 
Many  of  his  best  plates  were  portraits  after  Fiiger; 
he  also  executed  a  '  Magdalen  '  after  Gentileschi, 
and  a  landscape  after  Vernet.  He  died  at  Vienna 
in  1830. 

'WRIGHT,  Andrew,  sergeant  painter  to  Henry 
■^111.,  practised  at  Southwark  early  in  that  king's 
reign,  but  never  enjoyed  much  repute. 

WRIGHT,  Inigo,  was  an  English  mezzotint  en- 
graver, who  flourished  about  the  year  1770,  and 
engraved  after  Morland,  Frans  Hals,  and  others. 
We  have  among  others  the  following  prints  by  him  : 

The  Family  of  Van  Goyen  ;  after  J.  van  Goyeu. 

St.  John  preaching  in  the  Wilderness ;  after  F.  Lauri. 

WRIGHT,  John,  a  miniature  painter,  who  prac- 
tised early  in  the  present  century,  exhibited  re- 
gularly at  the  Royal  Academy  between  1795  and 
1819.     About  18'20  he  put  an  end  to  liis  own  life. 

WRIGHT,  John  Massey,  was  born   at  Penton- 
ville  in  1773.     At  the  age  of  sixteen  he  was  intro- 
duced  to  Stothard,  who   encouraged   him   in   his 
artistic    attemjits.      He   made   the   acquaintance, 
too,  of  several   eminent  scene  painters,  and  was 
engaged  towards  the  end  of  the  century  to  help  in 
the  scene-loft  at  His  Majesty's  Theatre.     In  1808 
ho  began  to  exhibit  at  the  Royal  Academy,  but 
about  1820  he  devoted  himself  to  water-colours, 
was  elected   a  member  of   the   Old   Society,  and 
regularly  contributed  to  their  show.s.     He  designed 
a   great   many   book   illustrations.      He   died    on 
May  13,  1866,  in  his  ninety-third  year.     Three  of 
his  water-colour  drawings  are  at  South  Kensington. 

WRIGHT,  John  William,  an  English  subject 
painterin  water-colours, born  in  London  in  1802.  He 
was  the  son  of  John  Wright  the  miniature  painter, 
and  early  received  instruction  fromT.  Phillips,  R.A. 
Joining  the  Water-Colour  Society  as  an  Associate  in 
1831,  he  regularly  exhibited  there,  becoming  a  full 
member  in  1842,  and  Secretary  in  1845.  His  works 
also  appeared  at  the  Royal  Academy  from  1825  to 
1846.  He  occasionally  painted  miniature  portraits, 
and  worked  as  a  book-illustrator.  Specimens  of 
his  work  in  the  latter  branch  of  art  will  be  found 
in  Heath's  '  Book  of  Beauty,'  and  in  '  The  Female 
Characters  of  Shakespeare.'  He  died  in  London, 
January  14,  1848,  leaving  his  famdy  in  straitened 
circumstances.  'Two  of  his  water-colour  drawings 
are  at  South  Kensington. 

397 


A  BIOGRAPHICAL  DICTIONARY  OF 


WRIGHT,  Joseph,  distinguished  by  the  Bobri- 
quet  '  Wright  of  Derby,'  was  born  at  that  town  in 
1734.  He  came  in  1761  to  London,  wliere  he 
became  a  Bcholar  first  of  Thomas  Hudson,  and 
afterwards  of  Mortimer.  On  leaving  tlie  latter  he 
returned  to  Derby,  where  he  established  himself  as 
a  portrait  painter.  In  1765  he  sent  two  candle- 
light and  fire  pieces  to  the  Exhibition  of  the  Incor- 
porated Society,  and  the  following  year  exhibited 
three  more  of  the  same  class,  one  of  them  the  well- 
known  '  Orrery,'  now  in  the  Derby  Museum.  In 
1773  he  visited  Rome  and  other  parts  of  Italy,  and 
returned  to  England  in  1775.  He  then  first  settled 
at  Bath,  but  returned  to  Derby  in  1777.  In  the 
following  year  he  exhibited  lire  and  moonliglit 
subjects  at  the  Royal  Academy,  and  in  1781  he 
was  elected  an  A.R.A.  In  1784  he  was  chosen  an 
Academician,  but  did  not  accept  the  honour,  per- 
haps from  annoyance  at  Garvey's  having  received 
it  before  him,  but  more  probably  from  fear  of  the 
duties  and  responsibilities  which  his  membership 
might  entail.  In  1785  he  made  an  exhibition  of 
twenty-four  of  his  own  works,  at  the  great  room 
in  Spring  Gardens,  of  wliich  the  principal  picture 
represented  the  destruction  of  the  floating  bat- 
teries before  Gibraltar.  He  died  at  Derby  in  1797. 
Several  of  Wright's  pictures  have  been  engraved  ; 
some  are  in  mezzotint,  among  them  '  The  Black- 
smith's Forge,'  'Tlie  Air-Pump,'  and  'The  Gladi- 
ator'; others  in  line,  among  them  'Tlie  Dead 
Soldier,'  engraved  by  Heath,  and  a  scene  from  '  A 
Winter's  Tale,'  by  Middiman,  in  which  the  painter 
and  engraver  may  be  said  to  rival  Wilson  and 
Woollett.  Other  subject  pictures  by  him  are, 
'The  -Destruction  of  the  Floating  Batteries  at 
Gibraltar,'  '  Edwin  at  the  Tomb  of  his  Ancestor,' 
'  Belsliazzar's  Feast,'  '  Hero  and  Leander,'  and  '  The 
Lady  in  Milton's  "Comus."'  His  'Eruption  of 
Vesuvius,'  and  '  Ulleswater,'  are  both  excellent  in 
their  way.     Other  works: 

London.     National  Gall.     An   experiment  with   the  air" 
pump. 

„        Nat.  Port.  Gall.     Portrait   of   Sir  Richard   Ark- 
wright. 

„  ,t  Portrait  of  Erasmus  Darwin. 

t,  „  „  himself. 

WRIGHT,  Joseph,  the  only  son  of  Mrs. 
Patience  Wriglit,  wax  modeller,  born  in  America 
in  1756.  He  accompanied  his  mother  to  London 
in  1772,  entered  the  studio  of  Benjamin  West, 
and  worked  for  a  while  with  Hoppner,  eventually 
becoming  a  portrait  painter.  His  first  exhibited 
portrait  was  shown  at  the  Royal  Academy  in  1780, 
and  represented  his  mother.  Two  years  after- 
wards he  returned  to  America,  where  he  not  only 
practised  portrait  painting  for  many  years,  but 
also  took  up  with  his  mother's  old  profession  of 
wax  modelling.  He  was  the  die-sinker  at  the  Mint 
of  Philadelphia,  and  prepared  the  drawings  for 
many  coins  and  medals.  He  executed  several 
portraits  of  Washington,  and  painted  the  portraits 
of  other  notable  men  in  America.  He  died  in 
1793. 

WRIGHT,  Joseph  Michael,  a  Scottish  portrait 
painter,  born  in  the  first  half  of  the  17th  century. 
He  was  taught  by  Jamesone,  and  at  an  early  age 
migrated  to  England,  where  he  soon  obtained  a 
good  practice.  Some  years  were  then  spent  by 
him  in  Italy,  and  in  1648  he  was  elected  a  nieuiber 
of  the  Florence  Academy.  On  his  return  to  Eng- 
land, he  painted  many  sitters  of  eminence  during 
the  Restoration  period,  and  appears  to  have  held 

398 


the  next  place  to  Lely,  to  whom  Wright's  portraits 
have  been  frequently  ascribed.  On  its  refusal  by 
Lely,  a  commission  to  paint  the  Judges  for 
the  Corporation  of  London  was  given  to  Wright. 
He  was  attached  to  Lord  Castlemaine's  embassy 
to  Rome  in  1686,  and  published  an  account  of  the 
negotiations  with  the  Pope.  On  Iiis  return,  he 
found  his  reputation  eclipsed  by  that  of  Kiieller. 
Wright  is  the  '  one  Wright '  whom  Pepys  so  un- 
favourably compares  with  Lely ;  Evelyn  speaks 
more  respectfully  of  him.  He  died  in  London 
about  1700.  Wright  was  known  by  various  pseu- 
donyms. At  Rome  lie  called  himself  'Michael 
Ritus'  (q.  v.),  and  is  so  registered  at  the  Roman 
Academy.  He  occasionally  described  himself  as 
'  Scotus '  or  '  Anglus,'  and  on  the  back  of  one  por- 
trait as  'Jos.  mick  Wrilps  Londonensis  Pictor 
Caroli  Regis.'  There  are  by  him  : 
Hampton  Court.  John  Lacy,  the  actor.     1675. 

London,   li^at.  For.  Gall.     Thomas  Hobbes. 

„  Garrick  Club,     John  Lacy. 

„  Liiwoln^s  Inn.     Sir  Matthew  Hale. 

Full-length  of  Prince  Kupert,  in  armour. 

His  nephew,  of  the  same  name,  was  also  a  por- 
trait painter.  He  studied  in  Rome  and  practised 
in  Ireland. 

WRIGHT,  Richard,  marine  painter,  sometimes 
called  '  Wright  of  the  Isle  of  Man,'  was  born  at 
Liverpool,  in  1735.  Without  any  advantage  of 
education,  he  acquired  some  skill  as  a  painter  by 
his  own  genius  and  industry.  In  1764  the  Society 
of  Arts  offered  a  premium  for  the  best  marine 
picture,  when  Wright  obtained  the  prize.  In  1764 
he  gained  a  premium  of  fifty  guineas  for  a  sea- 
piece  from  which  Woollett  engraved  his  plate, '  The 
Fishery.'  He  was  a  member  of  the  Incorporated 
Society  of  Artists,  and  exhibited  with  them  from 
1765  to  1770.  He  died  about  the  year  1775.  A 
French  copy  was  made  of  Woollett's  engraving  of 
'  The  Fishery,'  and  the  name  of  Vernet  affixed  as 
the  painter,  but  this  must  have  been  done  with- 
out Vernet's  knowledge.  At  Hampton  Court  there 
is  a  picture  by  Wriglit  of  '  The  Roj-al  Yacht  bring- 
ing Queen  Charlotte  to  England  in  a  Storm.'  His 
wife  and  daughter  were  also  painters. 

WRIGHT,  Thomas,  engraver  and  portrait 
painter,  was  born  at  Birmingham,  on  March  2, 
1792.  Before  he  was  fourteen  he  was  apprenticed 
to  Meyer,  the  engraver.  At  the  end  of  his  time 
he  joined  a  fellow-pupil,  William  Thomas  Fry, 
whose  plates  he  took  up  at  the  etching  stage  and 
finished,  Fry's  name  alone  being  placed  upon 
them.  After  four  years  of  this,  he  left  Fry  and 
began  to  engrave  portraits,  for  which  he  had  a  real 
gift.  He  worked  chiefly  after  his  brother-in-law, 
George  Dawe,  R.A.,  and  in  1822  went  to  St.  Peters- 
burg to  engrave  some  of  Dawe's  pictures  there. 
In  1826  he  came  home  to  England,  but  four  years 
later  returned  to  St.  Petersburg  to  arrange  Dawe's 
affairs,  and  staj'ed  there  fifteen  years,  painting 
portraits  and  engraving  them  himself.  A  series 
of  these  he  published  in  St.  Petersburg,  with  the 
title  '  Les  Contemporains  Russes.'  On  his  return 
to  England  he  commenced  a  plate  of  the  '  Infant 
Hercules  '  of  Reynolds,  from  a  copy  made  by  him- 
self while  in  Russia  ;  but  he  did  not  live  to  com- 
plete it.  He  died  in  London,  March  30,  1849.  He 
was  a  member  of  the  Academies  of  St.  Petersburg, 
Stockholm,  and  Florence. 

WRIGHT,  Thomas,  a  portrait  painter  of  the 
18th  century.  Little  is  known  of  him  beyond  the 
fact  that  Richard  Wilson,  R.A..  was  his  pupil.     A 


PAINTERS  AND  ENGRAVERS. 


portrait  by  hira  in  the  Bodleian  shows  that  his 
abilities  were  respectable. 
WTENBROECK.     See  Uijtenbrodck. 
WTTEWAEL.     See  Uitewaal. 
WUCHTERS,  Abraham,    (or   Wdqters,)    was 
born  about  1610-15,  in  Holland,  and  in  1638  ac- 
companied liis  brother-in-law,  Karel  van  Mander, 
to   Denmark.      He  soon  made  a  reputation  as  a 
portrait   painter   at   Copenhagen,  and   was   much 
employed  by  Christian  IV.  and  his  court.      Dis- 
appointed,  however,   at   not   being  named    court 
painter  when  a  vacancy  occurred,   he  retired   to 
Soroe,    where   he   worked   until    his   death.      He 
painted  over  fifty  portraits  of  the  King,  his  family, 
and  other  persons  of  rank,  many  of  them  being 
engraved  by  Haelwegh.     He  died  at  Soroe  in  1683. 
The  Copenhagen  Gallery  contains  portraits  by  liiin 
of   Prince  Waldemar  Christian  and  the  minister 
Gersdorf   (?),  and   there   is    a  'Last  Supper'   by 
hira  in  the  church  of  Soroe.     In  1675  he  suppUed 
several   illustrations   for  a   Danish  translation   of 
Jakob  Cats,  and  perhaps  engraved  them  himself. 
Nagler  also  ascribes  a  few  etchings  to  him. 
WUEZ.     See  VnEZ. 
WUGTERS.     See  ■Wdcbters. 
WULFHAGEN,  Frakz,  born  at  Bremen  in  1620, 
was  an  obscure  scholar  of  Rembrandt,  and  painted 
after  the  manner  of  his  master.     He  died  in  1678. 

WULFRAAT,  Margaretha,  daughter  of  Mathijs 
Wulfraat,  was  born  at  Arnheim  in  1678.  She 
painted  in  the  style  of  Netscher,  producing  por- 
traits and  small  historical  and  mythological  pictures. 
A '  Cleopatra,'  a  '  Serairamis,'  and  two  pictures  with 
wood  nymphs,  by  her,  are  in  existence.  She  died 
in  1738. 

WULFRAAT,  Mathijs,  (or  Wdlfraet,)  was 
born  at  Arnheim  in  1648.  He  was  the  son  of  an 
eminent  physician,  who  meant  him  to  follow  the 
same  profession  ;  but  he  was  devoted  to  drawing, 
and  his  father,  yielding  to  his  bent,  placed  him 
under  Abraham  Diepraam,  a  painter  of  banibocciate. 
He  himself,  however,  painted  conversations,  and 
polite  assemblies  ;  also  small  portraits  and  domestic 
subjects,  which  were  held  in  great  esteem  in 
Amsterdam,  where  he  chiefly  resided,  and  where 
he  died  in  1727. 

WURBS,  Karl,  was  an  architect  and  landscape 
painter,  who  practised  at  Prague,  where  he  was  a 
professor  in  the  Academy  and  director  of  the 
Gallery.     He  died  at  Prague  in  1876. 

WURMSER,  Nicholas,  a  painter  of  the  four- 
teenth century,  born  at  Strassburg.  Between  1357 
and  1360  he  worked  at  Prague,  and,  with  Theo- 
dorich  and  Tonnnaso  da  Modena,  was  employed 
by  Charles  IV.  at  Schlosz  Karlstein,  being  ap- 
pointed Court  painter  in  1359  ;  like  Theodorich,  he 
enjoyed  the  special  favour  of  the  Emperor.  It 
is  difficult  to  say  which  of  the  paintings  at 
Karlstein  are  to  be  ascribed  to  Wurmser ;  in  all 
probability  the  series  dealing  with  the  legends  of 
SS.  Wenceslaus  and  Ludmilla  were  by  him,  but 
they  have  been  eo  entirely  repainted  that  they 
have  lost  their  original  character.  The  '  Family 
Tree  of  the  House  of  Luxemburg,'  a  cycle  of 
frescoes  executed  at  Karlstein  by  order  of  the 
Kmperor,  was  probably  also  the  work  of  Wurmser, 
but  they  unfortunately  perished  in  1597.  Before 
their  destruction,  however,  the  compositions  had 
been  copied,  the  MS.  in  which  these  copies  are 
contained  being  preserved  in  the  Royal  Library  at 
Vienna.  In  spite  of  their  small  dimensions  these 
interesting  reproductions  afford  a  good  idea  of  the 


general  character  of  the  lost  originals.  With  the 
exception  of  the  series  of  SS.  Wenceslaus  and 
Ludmilla  at  Karlstein,  no  other  paintings  can  be 
ascribed  to  Wurmser  with  any  certainty.    C.J.  Ff. 

WCRSCH,  Johann  Melchior,  was  born  at 
Buochs,  in  Nidwalden,  in  1732,  and  painted  a  large 
number  of  pictures  for  Unterwalden  churches  as 
well  as  for  private  persons.     He  died  in  1798. 

WtJST,  Johann  Heinrich,  was  born  at  Zurich 
in  1741,  and  received  his  first  instruction  from  a 
house  painter,  after  which  he  went  to  Holland, 
and  there  found  patrons  and  employment.  He 
next  spent  two  years  in  Paris,  and  tlien  returned 
to  Zurich.  He  painted  nature  under  tranquil 
aspects,  being  especially  successful  with  foliage 
and  water.     He  died  in  1821. 

WUST,  Karl  Ludwig,  was  a  German  engraver, 
who  flourished  about  the  year  1760.  Among  other 
prints,  he  engraved  a  plate  representing  '  The 
Martyrdom  of  St.  Bartholomew,'  after  Matteo 
Preti. 

WUTKI, Michel,  (or  Wdtky,)  landscape  painter, 
was  probably  born  at  Tuln  in  1739  (others  say  at 
Krems  or  Stein  in  1738).  He  studied  at  Vienna 
under  Meytens,  and  lived  for  a  long  time  in  Italy, 
and  painted  somewhat  in  the  style  of  Phihpp  Hac- 
kert.     He  died  at  Vienna  in  1823. 

WYATT,  Henry,  an  English  subject  and  por- 
trait painter,  bom  at  Thickbroom,  near  Lichfield, 
September  17, 1794.  He  early  lost  his  father,  and  in 
1811  was  sent  to  London  by  his  guardian,  Francis 
Eginton,  the  glass  painter,  to  study  art.  He 
worked  in  the  schools  of  the  Academy,  and  also 
in  the  studio  of  Sir  Thomas  Lawrence,  receiving, 
for  the  latter  part  of  the  time  he  was  with  him,  a 
salary  of  £300  a  year.  Returning  to  Birmingham 
in  1817,  he  practised  portraiture  there,  at  Liverpool, 
and  at  Manchester,  successivel}'.  In  1825  he  came 
back  to  London,  wbere  he  remained  for  some  years, 
until  he  was  obliged  to  go  to  Leamington  for  his 
health  in  1834.  Thence  he  went  to  Manchester 
to  paint  some  portraits,  and  in  the  spring  of  1838 
was  struck  by  paralysis.  He  never  recovered,  and 
died  at  Prestwich  in  1840.  His  pictures  appeared 
at  the  Royal  Academy,  at  the  British  Institution, 
and  at  Suffolk  Street,  between  1817  and  1838. 
There  are  by  him  :  — 

Chester.  The  Castle.    Portrait  of  T.  Harrison,  Archi- 

tect. 
Glasgow.  Gallery.     The  Philosopher.     1832. 

Mauchester,  „  Vigilance.     1836. 

WYATT,  Thomas,  brother  of  Henry  Wyatt,  was 
born  at  Thickbroom  about  1799.  He  studied  in  the 
schools  of  the  Royal  Academy,  and  practised  por- 
trait painting  with  little  success  at  Birmingham, 
Liverpool,  and  Manchester.  He  was  secretary  to 
the  Midland  Society  of  Artists.  Towards  the  end 
of  his  life  he  settled  near  Lichfield,  where  he  died 
after  a  very  long  illness,  July  7,  1859. 

WYCK.     See  Wijck. 

WYGMORE,  John,  Abbot  of  Gloucester  (MSS. 
Cotton,  Bomit.  VIII.)  in  the  14th  century,  had  a 
series  of  portraits  of  English  kings,  down  to 
Edward  II.,  painted  for  his  great  dining  hall,  and 
is  said  to  have  been  eminent  as  a  limner  and  em- 
broiderer himself. 

WYKE.    See  Wijck. 

WYL,  J.  VON.     See  VoNWTL. 

WYLD,  William,  painter  and  lithographer,  was 
bom  in  London  in  1806.  He  became  secretary 
to  the  British  Consulate  at  Calais,  but  forming  a 

39§ 


A  BIOGRAPHICAL   DICTIONARY  OF 


resolve  to  study  art  he  went  to  Paris,  and  there 
formed  a  friendship  with  Horace  Vernet,  with 
whom  he  visited  Italy,  Spain,  and  Algiers.  The 
result  of  this  journey  was  the  '  Voyage  Pittoresque 
dans  la  rdgence  d'Alger,'  dedicated  to  Horace 
Vernet,  with  fifty  lithographs  by  Wyld  and  E. 
Lessore  ;  and  in  1839  twenty  lithographs  by  Wyld 
were  publislied  with  the  title  '  Monuments  et  Rues 
de  Paris.'  Though  he  worked  in  oils,  he  is  btst 
known  as  a  landscape  water-colourist.  He  was  a 
friend  of  Bonington,  and  with  him  contributed 
largely  to  the  development  and  appreciation  of 
water-colour  painting  in  France.  His  first  con- 
tribution to  the  Salon  in  1839  won  him  a  third-class 
medal,  while  two  years  later  he  gained  a  second- 
class  medal,  and  was  admitted  to  the  Legion  of 
Honour  in  1855.  He  is  represented  in  the  Luxem- 
bourg by  '  Mont  St.  Michel '  and  '  Sunset  at  the 
Pont  du  Gard,'  and  at  Ghent  by  his  '  Edge  of  the 
Wood  at  Tours';  while  at  South  Kensington  are 
his  'Falls  of  Tivoli'  (1839)  and  'The  Pool,  from 
London  Bridge.'  He  exhibited,  from  1849  to  1882, 
three  pictures  at  the  Royal  Academy,  five  at  the 
British  Institute,  and  '20tj  at  the  New  Water- 
Colour  Society  (now  the  Royal  Institute),  of 
which  he  became  a  full  member  in  1879,  but 
resigned  in  1883.  Wyld  died  at  his  residence  in 
Paris  on  December  25,  1889.  M.  H. 

WYLIE,  Robert,  a  landscape  and  subject 
painter,  who  by  his  art  should  be  classed  with  the 
French  school.  He  was  born  in  1839,  in  the  Isle 
of  Man,  and  while  still  a  child  was  taken  by  his 
parents  to  America,  His  first  instruction  in  art 
was  received  in  the  Pennsylvania  Academy,  and 
he  worked  for  some  time  as  an  ivory  carver.  In 
1865  he  came  to  Europe,  and  continued  his  studies 
in  Paris,  where  he  became  a  pupil  of  Barye.  He 
then  settled  at  Pont  Aven,  Finistere,  and  made  his 
mark  as  a  painter  of  Breton  scenes  and  peasantry. 
His  works  appeared  at  the  Salon,  where,  in  1872, 
he  was  awarded  a  medal  for  '  La  Sorciere  Bre- 
tonne.'  He  died  of  an  aneurism  on  the  13th 
February,  1877. 

WYNANTS.     See  Wijnants. 

WYNEN.     See  Wijnen. 

WYNFIELD,  David  Wilkie,  painter,  was  a 
grand-nephew  of  Sir  David  Wilkie,  and  was  born 
in  1837.  He  studied  at  first  with  a  view  to  taking 
orders,  but  in  1856  determined  to  be  a  jiainter,  and 
entered  the  studio  of  T.  M.  Leigh.  He  first  ex- 
hibited in  1859,  and  in  1863  sent  to  the  Royal 
Academy  '  The  Meeting  of  Edward  IV.  and  Eliza- 
beth Woodville.'  From  that  time  onward  he  was 
a  constant  exhibitor,  painting  chiefly  historical  and 
tragic  subjects,  with  occasional  excursions  into 
genre.  A  careful,  conscientious,  though  somewhat 
heavy-handed  artist,  his  strength  lay  in  his  solid 
simplicity  of  style,  but  he  failed  as  a  colourist.  He 
died  May  26,  1887.  Among  his  works  we  may 
mention : 

Last    Moments    of    Oliver    Cromwoll.      (South  Ken- 
sington. ) 
Buckingh."im  murdered.     1872. 
The  Ladye's  Knight.     1873. 
Visit  from  the  Inquisitors.     1875. 
The  New  Curate.     1877. 

WYNGAERDE.     See  Van  den  Wijngaerde. 

WYNTRANCK.     See  Wijntrack. 

WYON,  Alfred  Benjamin,  a  younger  son  of 
Benjamin  Wyon,  born  in  1837,  assisted  with  his 
brother,  J.  S.  Wyon,  as  Engraver  of  the  Seals 
from  1865,  and  he  became  sole  engraver  on  the 

400 


death  of  his  brother  in  1873,  and  continued  in  that 
position  till  his  own  decease  in  1884.  He  was 
the  compiler  of  the  work  on  the  '  Great  Seals  of 
England,'  published  by  liis  younger  brother,  Allan 
Wyon,  now  Chief  Engraver  of  the  Seals,  and  for 
that  work  made  several  very  important  drawings. 

WYON,  Benjamin.  Tliis  engraver  of  seals  was 
born  at  Blackfriars  in  1802,  and  was  the  second 
son  of  Thomas  Wyon  the  elder.  He  was  En- 
graver of  Seals  to  William  IV.,  and  prepared  several 
notable  medals  between  1821  and  1855,  amongst 
which  may  be  mentioned  those  wliich  illustrated 
the  visits  of  the  Emperor  of  the  French  and  the 
King  of  Sardinia  to  the  Guildhall  in  London. 
His  chief  instructor  in  his  profession  was  his  elder 
brother,  Thomas  Wyon  the  younger,  and  he  was 
himself  the  father  of  three  other  medallists,  J.  S. 
Wvon,  A.  B.  Wvon,  and  A.  Wyon.  He  died  in 
1858. 

WYON,  J.  S.  This  engraver,  who  was  born  in 
1836,  was  the  eldest  son  of  Benjamin  Wyon,  and 
a  student  at  the  schools  of  the  Ro3-al  Academy. 
He  was  appointed  Chief  Engraver  of  Seals  in  1858, 
on  the  death  of  liis  father,  and  amongst  other 
important  works  executed  by  him  was  the  Great 
Seal  for  the  Dominion  of  Canada.    He  died  in  1873. 

WYON,  Leonard  C,  the  eldest  son  of  William 
Wyon,  born  in  1826.  He  studied  under  his  father, 
became  Second  Engraver  to  the  Royal  Mint,  and 
in  1851  succeeded  his  father  as  Chief  Engraver. 
The  army  medals  from  1853  to  1885  were  very 
largely  his  work.     He  died  in  1891. 

WYON,  Thomas,  the  elder,  the  eldest  of  four 
sons  of  George  Wyon,  who  was  himself  the  son  of 
another  George,  a  silver  chaser  from  Cologne,  who 
came  to  England  with  George  I.  The  younger 
George  Wyon  was  designer  and  modeller  to  the 
Silver  Plate  Company  of  Birmingham,  and  his 
descendants  were  all  concerned  with  steel  and 
die  engraving,  and  had  special  and  very  high 
attainments  in  that  branch  of  the  artistic  pro- 
fession. George  Wyon  had  four  sons — Thomas, 
Peter,  George,  and  James.  Thomas  was  born  in 
1767,  and  was  in  business  at  Birmingham  as  a  die 
engraver  with  his  brother  Peter  in  1796.  In  1800 
he  came  to  London,  and  in  1816  was  appointed 
Chief  Engraver  of  the  Seals.  He  died  in  1830, 
and  was  the  father  of  Thomas  Wyon  the  younger, 
Benjamin  Wyon,  and  E.  W.  Wyon. 

WYON,  Thomas,  the  younger,  the  eldest  son 
of  Thomas  Wyon  the  elder,  born  in  1792,  and  a 
pupil  of  the  Royal  Academy.  He  was  appointed 
Chief  Engraver  to  the  Mint  in  1815,  when  only 
about  twenty-three  years  of  age,  but  died  of  con- 
sumption in  1817.  He  was  responsible  for  the 
seals  of  the  Newcastle  Antiquarian  Society,  and 
the  Limerick  Chamber  of  Commerce,  for  the  silver 
coinage  of  1816,  the  Maundy  money  of  1817,  and 
a  long  range  of  important  medals  between  1809 
ami  1817. 

WY'ON,  William.  This  man  was  the  eldest 
son  of  Peter  Wyon,  and  was  born  in  1795.  He 
was  apprenticed  to  his  father,  and,  before  he  was 
twenty,  obtained  two  gold  medals  from  the  Society 
of  Arts  for  his  work.  He  became  Second  Engraver 
to  the  Royal  Mint  iti  1816,  and  from  that  time  to 
1825  was  employed  in  the  preparation  of  dies  for 
the  colonial  money.  He  was  an  Associate  of  the 
Royal  Academy  in  1831,  and  an  Academician  in 
1838,  and  he  died  in  1851.  His  skill  in  portraiture 
was  of  a  very  high  order,  and  his  work  in  medals 
is  marked  by  special  artistic  excellence.     He  was 


PAINTERS  AND   ENGRAVERS. 


concerned  with  the  coinage  of  George  IV.,  William 
IV.,  and  Victoria,  and  executed  a  long  series  of 
important  medals. 

WYRSCH,  Jean  Melchior  Joseph,  painter,  born 
in  1732,  was  the  founder  of  the  Academy  of  Paint- 
ing and  Sculpture  at  Besangon,  and  professor  of 
that  institution.  In  the  Besangon  Museum  there 
are  several  of  his  pictures,  chiefly  portraits  of  local 
celebrities.  He  was  one  of  the  victims  in  tlie 
massacre  of  Stantz,  September  9,  1798. 

WYTEVELDE,  Baldwin  van,  a  painter  who 
seems  to  have  enjoyed  some  repute  at  Ghent  in 
the  middle  of  the  15th  century.  He  painted 
the  centre  of  a  triptych  in  1444  for  the  abbey 
of  Ntiiewenbossche. 

WYTMAN.     See  Wutman. 

WYTTENBACH,  Friedrich  Anton,  painter  and 
etcher,  was  born  at  Treves  in  1812.  He  was  a 
pupil  of  Karl  Ruben  and  of  Schadow.  In  18.32  he 
returned  to  Treves  from  Dussehlorf,  and  for  a  time 
devoted  himself  to  architectural  pieces,  but  finally 
took  to  painting  animals,  especially  in  hunting 
pictures.  He  has  left  some  etchings.  He  died  at 
Treves  in  1845. 


X. 


XANTO  AVELLI,  Francesco,  a  majolica  painter 
of  the  16th  century.  He  was  a  native  of  Rovigo, 
but  worked  at  Urbino.  There  are  plates  by  him  in 
the  Campana  Collection,  in  the  Louvre. 

XAVERY,  Frans,  painter,  was  the  son  of  Jan 
Baptist  Xavery,  the  sculptor,  who  flourished  in 
Holland  in  the  latter  part  of  the  17th  century. 
Frans  became  a  member  of  the  Pictura  Society 
at  the  Hague  in  17G8,  practised  for  some  time  in 
that  city,  and  later  in  Amsterdam  and  Rotterdam. 
He  studied  first  under  his  uncle  Gerhard  Joseph, 
and  afterwards  under  J.  de  Wit. 

XAVERY,  Gerhard  Joseph,  painter,  was  the 
brother  of  Jan  Baptist  Xavery,  the  sculptor,  and 
uncle  to  the  brothers  Frans  and  Jakob.  He  was  a 
native  of  Antwerp,  but  settled  in  Holland  and 
practised  at  the  Hague,  becoming  a  member  of  the 
Pictura  Society  in  1741. 

XAVERY,  Jakob,  was  born  at  the  Hague  in 
1736.  He  was  the  son  of  Jan  Baptist  Xavery,  the 
sculptor,  and  the  pupil  of  Jakob  de  Wit,  He 
practised  at  Amsterdam,  Breda,  and  the  Hague,  and 
passed  some  time  in  Paris.  Occasionally  he  imi- 
tated the  manner  of  Berchem  in  his  landscapes,  and 
approached  closely  to  his  master,  Jakob  de  Wit, 
in  his  feigned  bas-reliefs.  He  painted  portraits  of 
several  distinguished  persons,  among  them  M. 
Braamoamp  and  the  sculptor  Cressant.  He  died 
towards  the  end  of  the  18th  century.  In  the  S. 
Kensington  Museum  there  is  a  '  Vase  of  Fruit  and 
a  Vine  Branch  '  by  him. 

_  XIMENEZ  DONOSO,  Josef,  (or  Juan,)  a  Spanish 
historical  painter  and  architect,  was  born  at  Con- 
suegra  in  1628.  His  father,  Antonio  Ximenez, 
taught  him  the  elements  of  painting,  and  he  re- 
ceived further  instruction  in  tlie  school  of  Fran- 
cisco Fernandez,  at  Madrid.  On  the  death  of 
Fernandez  he  went  to  Rome,  where  he  remained 
for  seven  years.  Ho  afterwards  returned  to  Madrid, 
and  practised  for  a  time  in  the  school  of  Carreiio. 
He  painted  several  frescoes  in  collaboration  with 
Claudio  Coello.     He  succeeded  Francisco  Rizi  as 

vol.  v.  d  d 


painter  to  the  Chapter  of  Toledo,  and  repainted 
the  altar-piece  by  Rizi  in  the  church  of  St.  Gines, 
which  excited  the  indignation  of  his  professional 
brethren.  He  died  of  apoplexy  at  Madrid  in  1690 
and  was  buried  in  the  church  of  Saint  Gines. 

XIMENEZ,  Francisco,  a  Spanish  historical 
painter,  was  born  atTarazona,  Aragon,  in  1598.  He 
studied  painting  in  that  city  and  in  Rome.  Re- 
turning to  his  own  country,  he  was  employed  to 
paint  two  large  pictures  for  the  cathedral  at  Sara- 
gossa.  He  died  at  Saragossa  in  1666,  and  left  his 
fortune  to  educate  the  orphan  sons,  and  to  provide 
dowries  for  the  daughters,  of  painters. 

XIMENEZ,  J.  F.      See  Fernandez  Navarbete. 

XIMENEZ,  P.  A.    See  Aybar,  Ximenez. 

XIMENEZ-ANGEL,  Josef,  a  scholar  of  Antonio 
Rubio,  of  Toledo,  succeeded  Claudio  Coello  as 
painter  to  the  cathedral  of  that  city  in  1695.  He 
painted  frescoes  in  the  Hermitage  of  Sonseca,  repre- 
senting incidents  in  the  life  of  the  Virgin,  and  the 
work  was  considered  credit.able  ;  he  also  painted  a 
'  St.  Anthony '  for  the  parish  of  St.  Bartholomew 
at  Toledo,  and  other  subjects  from  sacred  history. 

XIMENEZ  DE  ILLESCAS,  Bernabe,  a  Spanish 
historical  painter,  was  born  at  Lucenain  1613,  and 
from  his  infancy  showed  a  disposition  for  art.  He 
entered  the  army,  however,  and  when  stationed  in 
Italy  his  fondness  for  drawing  and  painting  revived, 
and  for  six  years  he  studied  the  works  of  the  great 
masters,  and  became  a  tolerable,  if  not  a  very  good, 
painter.  On  his  return  to  Spain  he  painted  for 
private  persons,  and  died  while  occupied  on  his 
first  public  work,  at  Andujar,  in  1671.  Leonardo  de 
Castro  and  Miguel  Parrilla  were  his  scholars. 

XIMENO,  Josef,  a  Spanish  draughtsman  and  en- 
graver, made  the  designs  for  the  sumptuous  edition 
of  Solis's  '  History  of  the  Conquest  of  Mexico,' 
published  at  Madrid  in  1783,  and  also  for  the  edition 
of  the  'Galatea'  of  Cervantes,  published  in  1784. 
He  was  living  and  at  work  in  1791. 

XIMENO,  Matias,  a  painter  of  Old  Castille. 
He  was  a  pupil  of  Vinceiizo  Carducbo,  and  flour- 
ished about  the  middle  of  the  17th  century.  He 
painted  four  lateral  altars  for  the  Jeronymites  of 
Siguenza,  representing  'The  Incarnation,'  'The 
Nativity,'  'The  Epiphany,'  and  'The  Presentation 
in  the  Temple.'  His  '  Conversion  of  St.  Paul,' 
dated  1 652,  is,  perhaps,  his  best  work. 


YAHIA,  ben  Mahmdd,  an  Arab  painter,  living 
about  1236,  who  executed  one  hundred  and  one 
miniature  pictures,  illustrating  the  Anecdotes  of 
Hariri,  which  are  now  in  the  French  National 
Library. 

YANEZ,  Hernando,  (or  Yanes),  was  a  native 
of  Almedina  in  La  Mancha.  He  flourished  about 
the  year  1531,  and  appears  to  have  studied  under 
Leonardo  da  Vinci.  About  the  year  mentioned, 
he  was  painting  in  the  cathedral  of  Cuenca,  for 
the  cathedral  treasurer,  Gomez  Carillo  de  Albornoz, 
a  man  of  considerable  judgment  in  works  of  art. 
who  had  visited  Italy.  'The  death  of  Yanes  is 
supposed  to  have  occurred  between  1550  and  1560. 

YATES,  Thomas,  an  English  marine  painter  and 
draughtsman,  was  born  in  the  latter  half  of  the  18th 
century.  He  served  in  the  Royal  Navy,  in  which 
he  rose  to  the  rank  of  Lieutenant,  and  practised 

401 


A   BIOGRAPHICAL   DICTIONARY  OF 


«rt  as  an  amateur.  Between  1788  and  1794  Ix' 
exhibited  sea-pieces  at  the  Royal  Academy,  and 
also  published  a  series  of  drawings  of  '  Celebrated 
Naval  Actions.'  lie  was  shot  in  a  quarrel,  and  died 
in  1796.     His  widow  was  the  famous  actress. 

YEATES,  George,  an  English  engraver,  who 
flourished  in  the  reign  of  Charles  I.,  and  is  known 
by  a  portrait  of  George  Mountaigne,  Bishop  of 
London  and  Archbishop  of  York. 

YEATES,  Nicholas,  an  obscure  English  en- 
graver, who  flourished  about  1080,  and  who,  in 
conjunction  with  John  Collins,  executed  a  few 
portraits,  among  them  one  of  the  Parliamentary 
General,  Sir  William  Waller. 

YELLOWLEES,  William,  a  Scottish  painter, 
was  born  at  Mellerstain  in  1796.  He  came  to 
Edinburgh  in  1812,andstudied  thereunder  William 
Shiels,  the  animal  painter.  He  began  practice  as 
a  portrait  painter  and  soon  became  popular,  winning 
tlie  sobriquet  of  'the  little  Raeburn,'  partly  by  the 
small  size,  but  more  by  the  excellence  of  his  work. 
He  painted  in  Edinburgh  for  about  fifteen  years, 
and  then  moved  to  London,  where  he  met  with 
much  success.  Prince  Albert  was  among  his 
patrons.  He  contributed  twenty  portraits  to  the 
Royal  Academy  between  1829  and  1845.  He  died 
in  London  in  1856  (?).  There  is  a  portrait  by  him 
in  the  Scottish  National  Portrait  Gallery. 

YEO,  Richard,  a  very  clever  medallist,  whoso 
drawings  in  pencil  were  of  particular  beauty.  He 
■was  born  about  1720,  became  an  engraver  at  the 
Royal  Mint  in  1749,  and  a  member  of  the  Incor- 
porated Society  of  Artists  in  1760.  He  was  a 
foundation  member  of  the  Royal  Academy,  and 
contributed  to  the  first  Exhibition,  sending  in  the 
drawings  and  impressions  of  a  five-guinea  piece. 
He  prepared  several  Vauxhall  tickets,  and  medals 
for  Winchester  College  and  other  schools,  and 
died  in  1779. 

YEPES,  ToMAS  DE,  was  a  native  of  Valencia. 
He  excelled  in  painting  flowers,  fruit,  fish,  and 
game.  There  are  many  of  his  works  in  the  private 
collections  at  Madrid,  Seville,  and  in  his  native 
city.     He  died  in  1674. 

YKENS,  Frans,  born  at  Antwerp  in  IGOl,  was 
nn  excellent  painter  of  flowers,  fruit,  and  dead 
game.  He  studied  under  bis  imcle,  Osias  Beert, 
and  afterwards  in  France.  In  1630-31  he  was  free 
of  the  Guild  of  St.  Luke  in  his  native  town,  and 
about  1666  worked  for  a  short  time  in  Brussels. 
He  is  said  to  have  died  in  distressed  circumstances 
in  1693.  In  the  Vienna  Gallery  there  is  a  flower- 
piece  by  him,  in  the  Berlin  Museum  a  study  of 
fruit,  in  the  Madrid  Gallery  a  picture  of  dead 
game,  fruit,  &c.,  and  in  the  Hermitage,  St.  Peters- 
burg, a  fine  panel  of  large  size,  the  '  Purchase  of 
Provisions.' 

YKENS,  Jan,  painter,  was  born  at  Antwerp  in 
1625.  He  was  the  son  and  pupil  of  Pieter  Ykens 
the  elder,  and  practised  first  as  a  sculptor.  At 
Lierre,  in  the  church  of  the  Beguines,  there  is  a 
'Centurion  at  the  Feet  of  Christ'  by  him.  It  is 
signed,  Johannes  Ykens,  Inv.  et  F.  1651. 

YKENS,  Laurence  Catharine,  the  daughter 
of  Jan,  was  born  at  Antwerp  in  1659.  She  excelled 
in  painting  flowers,  fruit,  and  insects.  She  was 
received  into  the  Guild  of  St.  Luke  in  1687.  In 
the  Madrid  Gallery  are  two  of  her  pieces,  each 
consisting  of  a  landscape  in  a  medallion,  surrounded 
by  a  garland  of  fruit  and  flowers. 

YKENS,  PiETER,  the  elder,  painter,  was  born  at 
Antwerp  in  1599,  and  died  in  1649.     No  details  as 
402 


to  his  life  and  works  are  known,  and  lie  is  chiefly 
remembered  as  the  father  of  Jan  Ykens,  and 
grandfather  of  Pieter  Ykens  the  younger. 

YKENS,  PlETER,  the  younger,  painter,  was  the 
son  of  Jan  Ykens,  and  was  born  at  Antwerp  about 
1648.  He  was  probably  his  father's  pupil.  In 
1672  he  became  free  of  the  Guild  of  St.  Luke,  and 
in  1689  Dean,  but  escaped  office  by  paying  a  fine 
of  sixty  patacons  and  the  promise  of  a  '  picture 
painted  in  his  best  manner.'  In  1671  he  married 
a  daughter  of  the  painter  Peter  van  Bredael,  and  by 
her  had  twelve  children.  He  died  in  1695  or  1696. 
The  following  works  by  him  are  known  : 


Antwerp. 


Museum.  St.  Catharine  disputing  with 
the  Philosophers. 

„  Portrait  of  Jan  Baptist  Greyns. 

„  Portrait  of  Jansseus  de  Hujoel, 

in  a  frame  carved  and  em- 
blazoned by  Jan  Baptist  de 
Wree. 


Lille. 


'^''^wl.'^-lTbel-st  Supper. 


Museum.    Saint     Theresa,    signed    Ptr 
Ykens  Inventor  et  Fecit. 


His  son  and  pupil,  Pieter  Jan,  also  practised  at 
Antwerp. 

YOLI,  (or  Yole).     See  JoLi,  Antonio. 

YON,  Edmond  Charles,  was  born  in  1843  at 
Montmartre,  Paris,  and  studied  under  Pouget  and 
Lequien.  He  took  up  engraving  at  first,  and  the 
illustrations  of  some  of  Victor  Hugo's  books  were 
cut  on  the  wood  by  liim.  Soon  he  devoted  him- 
self to  landscape  painting  and  became  a  regular 
exhibitor  at  the  Salon,  where  he  obtained  medals — 
a  third-class  in  1875,  a  second-class  in  1879,  and  a 
gold  medal  in  1889.  In  1886  he  was  appointed 
Chevalier  of  the  Legion  of  Honour.  He  painted 
both  in  oil  and  water-colour,  his  work  in  the  latter 
medium,  chiefly  river  scenery  of  the  Seine,  Oise, 
&.C.,  being  characterized  by  great  brilliancy  and 
charm.  His  '  L'Eure  i  Acquigny  '  and  '  Le  Pont 
Valentr6,  k  Caliors,'  at  one  time  hung  in  the 
Luxembourg.  In  the  Gallery  at  Antwerp  is  his 
'  Environs  de  Saint  Jean-de-Luz.'  Among  his 
best  works  are:  'Villerville'  (1881),  'La  Meuse 
dfivant  Dordrecht' (1885),  '  Les  Patures  de  Saint- 
Aulde,  bords  de  la  Marne '  (1889),  and  'Automne, 
ValMe  de  la  Somme.'     He  died  in  1897.     J. H.W.I,. 

YONGKIND,  JoHAN  Bariiiold.     See  Joxgkind. 

YOUNG,  John,  born  in  1755,  was  a  mezzotint 
engraver  and  designer,  but  is  better  known  for  his 
outlines  of  celebrated  English  Picture  Galleries. 
Amongthese  are  the  Stafford,  Angerstein.Grosvenor, 
Leicester,  and  Miles  Collections.  His  best  mezzo- 
tint is  after  Mortimer's  picture  of  the  fight  between 
Broughton,  the  prize-fighter,  and  Stevenson,  coach- 
man to  Sir  William  Wyndham.  He  exhibited  some 
mezzotint  portraits  at  the  Academy  in  1794.  John 
Young  was  Keeper  of  the  British  Institution,  and 
was  an  active  promoter  of  the  Artists'  Benevolent 
Fund.     He  died  in  London,  March  7,  1825. 

YOUNG,  T0BIA.S,  an  English  landscape  painter, 
exhibited  at  the  Academy  in  1816  and  1817,  and 
painted  the  scenery  for  Lord  Barrymore's  private 
theatre  at  Wargrave.  He  practised  for  some  time 
at  Southampton,  to  which  town  and  its  neighbour- 
hood his  reputation  was  chiefly  confined.  In  the 
Southampton  Town  Hall  there  is  a  '  Judgment  of 
Solomon  '  by  him.     He  died  in  1824. 

YOUNGMAN,  John  Mallows,  landscape  painter, 
was  born  in  1817.  In  1836  he  studied  at  Mr. 
Sass's  School  of  Art,  and  in  1840  became  a  member 


PAINTERS  AND  ENGRAVERS. 


of  the  New  Water-Colour  Society,  at  whose  Gallery 
he  exhibited  regularly  till  his  death,  showing  110 
pictures  in  all.  He  also  painted  in  oil,  and  his 
tirst  exhibit  at  the  Royal  Academy  in  1838  was 
an  oil-painting,  'View  near  Mildenhall,  Suffolk,' 
followed  by  'Gravel  Pit'  and  'Lane  scene,  Had- 
stock,'  in  1840,  and  by  'On  the  Tees,  near  Rokeby,' 
in  1844.  In  1872,  1875,  and  1876  he  exhibited 
etchings  of  views  in  Richmond  Park  and  elsewhere. 
His  later  exhibits  at  the  Academy  were  in  water- 
colour,  the  last  two  being  'A  Field  scene,  Felpham,' 
and  'In  Richmond  Park,'  in  1882.  Till  187.5 
Youngraan  lived  at  SafEron  Walden,  and  then 
came  to  Notting  Hill  Terrace,  London.  Ho  died 
on  January  19,  1899.  M  H 

YPEREN,  Karel  van,  or  YPRES,  Charles  i)', 
painter,  sculptor,  and  architect,  was  born  at  Yprfes 
in  1610.  He  travelled  for  improvement  in  Italy, 
and  is  said  to  have  been  a  pupil  of  Tintoretto.  Van 
Mander  says  that  his  death  was  caused  by  bis 
stabbing  himself,  in  a  fit  of  delirium,  at  a  banquet 
gived  in  his  honour  by  the  artists  of  Courtrai,  in 
1563  or  1564.  Some  of  his  works  are  to  be  seen  at 
Ypres,  a  '  SS.  Peter  and  Paul,'  in  the  church  of 
St.  Peter,  and  an  'Adoration  of  the  Magi,'  at  the 
hospital,  among  others. 
YRIARTE.     See  Iriarte. 

YSENDYCK,  Antoinb  Van,  painter,  born  at 
Antwerp  in  1801,  was  a  pupil  of  Van  Bree.  In 
1823  he  won  the  Roman  pension  at  the  Antwerp 
Academy,  and  after  a  term  in  Italy,  worked  for  ten 
years  in  Paris.  He  was  a  member  of  the  Academies 
of  Amsterdam  and  Antwerp.  He  became  director 
of  the  Academy  at  Mons  in  1840,  and  died  at 
Brussels  in  1875.  Among  his  pictures  we  may 
name  a  '  Christ  Blessing  the  Children,'  a  '  Charity,' 
and  a  portrait  of  Van  Bree.  Several  examples  of 
his  work  are  at  Versailles. 

YSSELSTEYN,  A.  F.,  a  Dutch  artist  of  the  17th 
century,  known  only  by  the  picture  of  a  dead  cock 
in  the  Schleissheim  Gallery. 

YULE,  William  J.,  was  born  and  educated  at 
Dundee.  He  received  his  art  training  at  Edinburgh, 
London  (under  F.  Brown),  and  Paris.  He  exhibited 
at  Edinburgh  and  Glasgow,  and  at  the  New  Gallery, 
London,  where  his  '  Girl  in  Crimson '  attracted 
considerable  attention.  It  is  reproduced  in  D.  S. 
MacColl's  '  Nineteenth-Century  Art.'  His  work  is 
distinctly  Impressionist  in  character,  with  a  fine 
sense  of  tonality.  His  health  was  not  robust,  and 
he  died  in  his  thirty-second  year  at  Nordrach-on- 
Mendip  in  1900.  J.  H.  \V.  L. 

YDNG,  Antoine  Robert,  called  Lejeune,  en- 
graver, was  boru  in  Paris  in  1789,  and  was  a  pupil 
of  Gros.  In  1824  and  in  1834  he  exhibited  vig- 
nettes at  the  Salon,  after  drawings  by  D6v6ria, 
Chasselat,  Colin,  and  Choquet. 

YUNK,  Enrico,  painter,  was  born  at  Turin  in 
1840.  He  studied  first  at  the  Academy  of  Turin, 
and  afterwards  in  Paris,  under  G6r6me  and  Picot. 
He  painted  chiefly  scenes  from  Italian  peasant  life, 
and  subjects  gathered  during  his  travels  in  Turkey, 
Spain,  and  Egypt.  Towards  the  close  of  his  life 
he  worked  mainly  in  Rome  and  Pisa,  in  which 
latter  city  he  died,  November  18,  1878. 
YUSO.     See  Irala  Ynso. 

YVART,  Baudouin,  painter,  born  at  Boulogne 
in  1610,  was  a  member  of  the  Maitrise  and  of  the 
Academy,  into  which  he  was  received  in  1663.  He 
was  employed  on  the  decorative  paintings  in  Salle 
169  of  the  palace  at  Versailles,  and  the  Versailles 
Museum  has  a  'Consecration  of  Louis  XIV.'  and 

D  D  2 


'  Siege  of  Douai '  by  him.    He  died  December  12th, 
1690. 

YVON,  Adolphe,  French  painter,  born  February 
1st,  1817,  at  Eschweiler  (Lorraine);  became  a  pupil 
of  Paul  Delaroche  ;  went  to  Russia  in  1843,  and 
was  sent  to  the  Crimea  as  a  war-artist ;  became  a 
Professor  at  the  ficole  des  Beaux  Arts  ;  apart  from 
war-scenes,  such  as  '  Battle  of  Inkermann,'  he 
painted  portraits,  including  that  of  the  Prince 
Imperial  in  1861,  and  of  Napoleon  III.  in  1868; 
obtained  a  medal  of  the  first  class  in  1848,  a 
second-class  medal  in  1855,  the  Legion  of  Honour 
in  1855,  being  made  an  OflScer  in  1867.  He  died 
at  Passy,  September  lltb,  1893. 


ZAAGMOOLEN,  Martinus,  was  a  native  of 
Holland.  He  was  working  from  1640  to  1660,  but 
neither  his  birthplace  nor  the  master  under  whom 
he  studied  is  known.  Houbraken  calls  him  a 
painter  of  history,  and  describes  a  '  Last  Judgment' 
by  him.  He  was  the  master  of  Jan  Luiken,  the 
engraver,  and  of  Michiel  van  Musscher. 

ZAAL,  I.  or  J.,  was  a  Flemish  engraver  of  the 
latter  part  of  the  17th  century,  by  whom  we  have 
a  large  etcliing  after  a  Boar-hunt,  by  Snyders.  Its 
date  appears  to  be  1673. 

ZAANREDAM.     See  Saenredam. 

ZABELLI,  Antonio,  (or  Zabaqlio,)  was  born 
at  Florence  about  the  year  1740.  He  engraved 
several  portraits  for  the  collection  published  by 
Francesco  Allegrini,  at  Florence,  in  1762  ;  and  some 
plates  after  the  principal  pictures  at  Naples :  among 
them  the  following : 

Mary  Magdalene  ;  after  Guercino. 
The  Flight  into  Egypt ;  after  Guido  Eeni. 
The  Meeting  of  Christ  and  St.  John  ;  after  the  sam^. 
The  Three  Marys  at  the  Tomb  of  Christ ;    after  Ann. 
Carracci. 

ZABELLO,  Giovanni  Francesco,  an  engraver, 
was,  according  to  Orlandi,  a  native  of  Bergamo, 
and  flourished  about  the  year  1546.  He  marked 
his  prints  with  a  die  and  the  date. 

ZACCAGNA,  TURPINO,  a  Florentine  painter,  who 
flourished  about  1537.  He  was  a  pupil  of  Luca 
Signorelli,  and  painted  a  '  Burial  and  Ascension  of 
the  Virgin'  in  the  choir  of  the  cathedral  of  Cortona. 

ZACCHETTI,  Bernardino,  was  a  painter  of 
Reggio,  who  flourished  about  1523.  He  has  been 
called  a  disciple  of  Raphael,  and  is  also  said  to 
have  worked  with  Michelangelo  in  the  Sistine 
chapel.  His  picture  of  '  St.  Paul'  in  the  church 
of  San  Prospero,  at  Reggio,  is  in  the  style  of 
Garofalo. 

ZACCHIA,  Paolo,  '  il  Vecchio,'  was  a  native  of 
Lucca,  where  he  worked  from  about  1520  to  1530. 
He  probably  studied  at  Florence,  for  his  works 
show  traces  of  the  influence  of  Ghirlandajo  and  of 
Fra  Bartolommeo.  There  are  several  altar-pieces 
painted  by  him  in  the  churches  at  Lucca,  which 
prove  him  to  have  been  an  artist  of  some  ability. 
Works : 

Berlin.  Museum.  Virgin,  Child,  and  St.  John. 

Lucca.  Cathedral,  .St.  Petronilla. 

„  *y.  Salvadore.  The  Ascension. 

„  Pinacoteca.  The  Assumption.     1527. 

„  S.  Michele.  Marriage  of  the  Virgin. 

„  Pietra  Santi.  Nativity.     1519. 

Paris.  Louvre.  Portrait  of  a  Musician. 

403 


A   BIOGRAPHICAL   DICTIONARY   OF 


His  son,  Lorenzo  di  Ffrro  Zacchia,  called 
Zacohia  il  Giovane,  an  indifferent  painter  and 
engraver,  also  practised  at  Lucca. 

ZACCOLINI,  Padre  Matteo,  was  born  at  Gesena, 
in  the  Roman  States,  about  1590,  and  painted  per- 
spectives, in  which  he  is  said  to  have  instructed 
Domenichino  and  Nicolas  Poussin.  He  became  a 
Theatine  monk,  and  his  principal  works  are  in 
the  church  of  that  order,  on  Monte  Cavallo.  He 
wrote  some  treatises  on  perspective,  the  manu- 
scripts of  which  are  in  the  Barberini  Library.  He 
died  in  Ifi.SO. 
ZACHTLEVEN.  See  Saftleven. 
ZAECH,  Bernard,  a  German  engraver,  etched  a 
set  of  ruins,  after  Jonas  Umbach.  There  is  also 
by  him  a  small  original  landscape  with  figures, 
animals,  and  ruins.  Brulliot  mentions  twelve 
pieces,  designs  for  goldsmiths'  work,  consisting  of 
Vases  and  Goblets,  marked  B.  Z.  1581,  and  which 
he  suspects  to  be  by  Bernard  Zaech.  One  Daniel 
Zaech,  a  painter,  goldsmith,  and  engraver,  was 
also  at  work  in  1613. 

ZAENREDAM.     See  Saenredam. 
ZAFFONATO,  Alessandro,  an  Italian  engraver, 
who  flourished  about  17.30.    He  engraved  Raphael's 
'  Judgment  of  Solomon,'  and  a  few  other  plates. 

ZAFFONI,  Giovanni  Maria,  better  known  as 
Calderari,  was  a  Friulan,  and  flourished  between 
1534  and  1570.  He  was  an  imitator  of  Pordenone 
and  Pomponio  Amalteo.  The  well  of  the  font  in 
the  cathedral  of  Pordenone  was  painted  by  him  in 
1534  with  four  scenes  in  fresco  from  the  lives  of 
Christ  and  John  the  Baptist.  In  1542  he  painted  in 
distemper  a  Nativity,  various  Saints,  and  a  Patron 
in  armour  in  the  Church  of  Pissancana,  Friuli. 
This  fresco  was  taken  by  Ridolfi  for  the  work  of 
Pordenone.  In  the  year  1555  he  decorated  the 
Montereale  Chapel  in  Pordenone  cathedral  with 
frescoes  from  the  lives  of  Christ  and  the  Virgin ; 
and  the  church  of  the  Santissima,  in  the  same  city, 
with  frescoes  from  Old  Testament  History.  In  the 
church  of  Montereale  are  a  series  of  frescoes 
painted  by  him  some  time  previous  to  1570  ;  they 
were  valued  in  that  year  by  Pomponio  Amalteo, 
and  Zaffoni  was  then  dead. 
ZAGANELLL  See  Dei  Zaqanelli. 
ZAGEL,  M.  See  Zatzinger. 
ZAGO,  Santo,  a  native  of  Venice,  was  brought 
up  in  the  school  of  Titian,  and  worked  about  1550. 
lie  painted  some  frescoes  and  altar-pieces  for  the 
churches  at  Venice.  An  altar-piece,  in  the  church 
of  Santa  Caterina,  representing  Tobit  and  the  Angel, 
may  be  specially  named. 

ZAHN,  Johann  Karl  Wilhelm,  arcbKologist, 
architect,  and  painter,  was  born  at  Rodenberg  in 
Hesse  in  1800,  and  first  instructed  at  the  Academy 
of  Cassel.  In  1822-4  he  was  in  Paris,  where  he 
attended  the  ateliers  of  Gros,  Chabillon,  and  Bertin, 
and  then  proceeded  to  Italy,  studying  at  Rome, 
Naples,  Pompeii,  &c.  After  his  return  he  decor- 
ated the  new  palace  at  Cassel,  and  brought  out  a 
book  on  the  ornaments  and  paintings  of  Pompeii, 
Herculaneum,  and  StabiiE.  In  1830  he  returned  to 
Italy,  and  spent  ten  years  in  drawing,  excavating, 
and  inspecting  antiquities.  In  1839  he  visited 
Greece,  and  shortly  afterwards  published  a  con- 
tinuation of  his  work  on  the  Pompeian  remains. 
In  1850  he  travelled  in  France,  England,  and  the 
Netherlands,  studying  ancient  miniatures.  He  died 
at  Berlin,  August  22,  1871.  Zahn's  writings  had 
a  considerable  influence  on  the  course  of  modern 
German  industrial  art.  He  did  not  confine  himself 
404 


to  the  study  of  the  antique,  but  endeavoured  to 
direct  the  attention  of  his  countrymen  to  the 
beauties  of  mediaeval  and  Renaissance  ornament, 
and  was  the  author  of  many  important  works 
besides  those  above  mentioned. 

ZAPIN,  LuDWiQ,  genre  painter,  was  bom  at 
Munich  in  1830,  and  died  in  1855.  Among  his 
best  works  were  : 

Peasant  Girl  at  Harvest  Time. 

The  Emperor  Maximilian  at  the  '*  Martin's-wand." 

ZAIS,  Giuseppe,  was  a  native  of  Venice,  and 
studied  under  Francesco  Zuccarelli,  during  his 
residence  in  that  city.  He  painted  landscapes  and 
battle-pieces  with  considerable  success.  He  died 
at  an  advanced  age,  in  1784.  There  is  a  picture 
by  him  in  the  Venice  Academy. 

ZALISKI,  Margin,  a  Polish  painter  of  architec- 
ture, chiefly  church  interiors,  practised  in  the 
middle  of  the  19th  century,  and  was  professor  at 
the  Warsaw  Academ3'.  He  was  accused  of  com- 
plicity in  a  plot  against  the  Russian  Government, 
and  sent  to  the  Siberian  mines  for  some  years. 
He  died  at  Warsaw,  in  October  1885.  There  are 
pictures  by  him  in  the  Louvre  and  in  the  Pitti 
Palace. 

ZAMACOIS,  Eduardo,  a  Spanish  painter,  was 
born  at  Bilbao  in  1842.  He  was  a  pupil  of  Balaca  and 
of  Federigo  Madrazo,  in  the  Academy  of  San  Fer- 
nando at  Madrid,  and  afterwards  of  Meissonier. 
He  painted  scenes  from  life  in  the  16th  and  17th 
centuries,  often  dealing  with  monks  and  friars,  and 
mostly  comic  in  character,  but  seldom  without  a 
touch  of  malice.  After  Fortuny,  he  was,  perhaps, 
the  most  brilliant  member  of  the  group  of  painters 
to  which  the  new  Spanish  school  owes  its  vitality. 
In  '  The  Education  of  a  Prince,'  his  peculiar  com- 
bination of  vivid  colour,  sparkling  execution,  sound 
drawing,  and  keen  though  genial  satire,  is  to  be 
seen  at  its  best.  His  death  occurred  at  Madrid  in 
1871.     Among  his  works  we  may  mention  : 

The  Eulistiug  of  Cervantes.     1863. 

The  Entry  of  the  Toreros.     (Painted  in  conjunction  with 

Vibert.)     1866. 
The  King's  Favourite.     1868. 
The  Gate  of  the  Monastery.     1869. 
The  Good  Pastor.     1869. 
The  Education  of  a  Prince.     1870. 
Platonic  Love.     1870. 
The  Father  Confessors. 

ZAMBONI,  Matteo,  was,  according  to  Crespi,  a 
native  of  Bologna,  and  flourished  about  the  year 
1700.  He  was  one  of  the  ablest  disciples  of  Carlo 
Cignani,  and  painted  history  with  considerable 
skill.  He  had  given  proof  of  talent,  in  two  altar- 
pieces  for  the  church  of  San  Niccol6,  at  Rimini, 
when  he  died  in  the  prime  of  life. 

ZAMBRANO,  Alonso.     See  Llera. 

ZAMBRANO,  Jdan  Luis,  a  Spanish  painter,  was 
born  at  Cordova  towards  the  close  of  the  16th  cen- 
tury. He  was  a  disciple  and  follower  of  Pablo  de 
Cespedes.  His  principal  works  are  in  the  cathedral 
at  Cordova,  in  the  church  of  the  convent  of  Los 
Marty  res,  and  in  the  Colegio  de  Santa  Catalina. 
He  settled  at  Seville  about  the  time  of  the  death  of 
Cespedes,  in  1608,  and  there  painted  several  altar- 
[)ieces  and  three  large  pictures  upon  the  staircase 
of  the  convent  of  San  Basilio.  He  died  at  Seville 
in  1639. 

ZAMORA,  Jdan  de,  a  native  of  Seville,  flour- 
ished from  about  1650  to  1671.  He  distinguished 
himself  as  a  painter  of  landscapes,  embellished  with 


DOMENICO  ZAMPIERI 

CALLED 

DOMENICHINO 


Hanfstar.olplwto]  [The  ralicaii,  Rome 

THE  COMMUNION  OF  ST.  JEROME 


PAINTERS    AND   ENGRAVERS. 


historical  figures,  in  which  he  appears  to  have 
imitated  the  style  of  tlie  best  masters  of  the  Flemish 
school.  Some  of  his  best  pictures  are  preserved 
in  the  Episcopal  Palace  at  Seville.  There  vpas  also 
a  Diego  Zamora,  who  painted  at  the  latter  part  of 
the  16th  century  in  tho  cathedral  of  Seville,  but 
nothing  further  is  known  of  him. 

ZAMORA,  Sancho  de,  was  a  painter  who  flour- 
ished towards  the  close  of  the  15th  century.  In  the 
chapel  of  Santiago,  in  Toledo  Cathedral,  there  is  an 
altar-piece  painted  by  him  in  1498. 

ZAMPEZZO,  Giovanni  Battista,  was  born  at 
Cittadella,  near  Bassano,  in  1620,  and  studied  at 
Venice,  under  Jacopo  Apollonio.  He  was  a  suc- 
cessful imitator  of  Jacopo  da  Ponte,  and  painted 
some  altar-pieces  for  tlie  churches  at  Bassano.  He 
died  in  1700. 

ZAMPIER[,  DoMENico,  (or  Sampieri,)  commonly 
known  as  Domenichino,  was  bjru  at  Bolognain 
1581,  and  was  placed,  when  young,  under  the  tuition 
of  Dionysius  Calvaert ;  but  being  treated  with 
severity  by  that  master,  for  copying  a  drawing  by 
Annibale  Carracci,  he  prevailed  on  his  father  to 
remove  him  to  the  academy  of  the  Carracci,  where 
Guido  and  Albani  were  then  students.  On  the 
first  award  of  a  prize  after  his  admission,  Domeni- 
chino was  hailed,  much  to  his  own  astonishment,  as 
the  successful  candidate,  and  this  triumph  incited 
him  to  greater  assiduity.  He  contracted  an  in- 
timacy with  Albani,  and  on  leaving  the  school  of 
the  Carracci,  they  visited  together  Parma,  Slodena, 
and  Reggio,  to  study  Correggio  and  Parmigiano. 
On  their  return  to  Bologna,  Albani  went  to  Rome, 
and  was  soon  afterwards  followed  by  Zampieri. 
Cardinal  Agucchi,  Zampieri's  first  patron,  employed 
him  in  his  palace,  and  also  gave  him  commissions. 
While  in  Rome,  Domenichino  was  a  fre(iuent  visitor 
of  Annibale  Carracci,  who  was  then  engaged  in  the 
Farnese,  and  painted  from  his  cartoons.  He  also 
painted  '  The  Death  of  Adonis,'  from  his  own  de- 
signs, in  the  garden  loggia.  The  health  of  Anni- 
bale becoming  daily  worse,  he  had  to  pass  on  many 
commissions  to  his  scholars,  and  it  was  by  his  re- 
commendation that  Guido  and  Domenichino  were 
engaged  by  Cardinal  Borghese  to  paint  the  frescoes 
in  San  Gregorio.  Cardinal  Farnese  also  employed 
tho  latter  in  some  works  in  fresco,  and  he  was  com- 
missioned about  this  time  by  Cardinal  Aldobrandini 
to  decorate  his  villa  at  Frascati,  where  he  painted 
ten  frescoes  from  the  history  of  Apollo.  His 
greatest  works  were  perhaps  the  series  of  frescoes 
he  executed  at  the  Basilian  Abbey  of  Grotta 
Ferrata  near  Rome.  The  next  work  of  Domeni- 
chino was  his  famous  'Communion  of  St.  Jerome,' 
painted  for  the  principal  altar  of  San  Girolamo 
della  Carit&,  and  long  considered  the  second 
picture  in  Rome.  The  reputation  Domenichino 
had  acquired  had  already  excited  the  jealousy 
of  some  of  his  contemporaries,  Lanfranco  in  par- 
ticular, and  it  was  now  increased  by  the  applause 
bestowed  on  this  picture.  Disgusted  with  their 
cabals,  he  returned  to  Bologna,  where  he  passed  a 
few  years  in  the  tranquil  exercise  of  his  talents. 
Pope  Gregory  XV.,  however,  invited  him  back  to 
Rome,  and  appointed  him  principal  painter  and 
architect  to  the  Pontifical  palace.  Domenichino 
died  in  1641.  In  the  first  half  of  the  19th  century 
his  reputation  with  amateurs  almost  rivalled  that 
of  Raphael.  With  the  advance  of  knowledge,  and 
the  improvement  of  taste,  his  works  have  now  fallen 
to  a  truer  level.  The  following  is  a  list  of  the  more 
important : 


Bologna.         Pinacoteca.    The  Madonna  del  Kosario. 

„  „  Martyrdom  of  St.  Agnes. 

Florence.  UJ/tzi.     His  own  Portrait. 

„  „       Portrait  of  Cardinal  Agucchi. 

„  Pitti-     The  Magdalene. 

„  „        Landscapes  —  *The   Repose  of 

Venns  '  and  '  Diana  and  Ac- 
t<eon.' 
Grotta  Ferrata.    Church.     Lives  of  St.  Nilus  and  St.  Bar- 
tholomew—/T-f^sroes. 
London.  JVat.  Gall.     Landscapes — *  The  Angel    and 

Tobias '  and  '  St.  George  and 
the  Dragon.' 
,,    Bridi/ewater  Gall.     Christ  bearing  His  Cross. 
„  ,,  „        Landscape  with  Callisto, 

„  „  „        Landscape — Fishers. 

„  „  „         St.  Francis  of  Assisi. 

Modena.  Gallery.     Female  Magician. 

Munich  Pinakothek.     Susannah  at  the  Bath. 

Naples.     Cap.  d.  Tesoro.    Subjects  from  the  Life  of   St. 
Januarius. 
„  Museum.     The  Guardian  Angel. 

Paris.  Louvre.     Condemnation   of    Adam    and 

Kve. 
„  „  King  David. 

„  „  Appearance  of  the  Virgin  and 

Child    to    St.    Anthony    of 
Padua. 
„  „  St,  Paul  caught  up  to  Heaven 

„  „  St.  Cecilia. 

„  „  Combat  of  Hercules  and  Ache- 

lous. 
„  „  Alexander  and  Timoleon. 

„  „  The  Triumph  of  Love. 

„  „  Rinaldo  and  Armida. 

„  „  Herminiajimong  the  Shepherds. 

Petersburg.    Hermitage     The  Assumption  of  the  Magda- 
lene. 
Rome.  &   Luiyi    de'  }  Subjects  from  the  Life  of  St. 

Francesi.      J      Cecilia. 
„    .f.  Andrea  d.  Valle.     The  Four  Evangelists. 
„      .S'.  Carlo  Catenari.    The  four  Virtues. 
„  Vatican.     The  Communion  of  St.  Jerome. 

„  Pal.  Bonjhese.     Diana  and  lier  Nymphs. 

„  ,,  The  Sibyl  of  Cumae. 

„        Pal.  Eoipigliosi.     Adam  and  Eve. 
„  ,,  David  conquering  Goliath. 

„  Pal.  Farnese.     Frescoes— Narcissus  ;    Apollo  ; 

Venus  and  Adonis. 
ZAN,  Bernard,  an  engraver  mentioned  in  the 
Abecedario,  is  said  to  have  flourished  about  the 
year  1571,  and  to  have  marked  his  prints  with 
the  initials  B.  Z-,  and  the  date,  (See  also  Zaech, 
Bernard.) 

ZANARDI,  Gentile,  was,  according  to  Orlandi, 
a  native  of  Bologna,  and  a  pupil  of  Marc  Antonio 
Francesoluni.  She  possessed  an  extraordinary 
talent  for  copying,  but  also  painted  historical 
pictures  of  her  own  composition. 

ZANCARLI,  PoLiniiLOS,  (or  GlANCARLi,)was  an 
ornamental  draughtsman,  who  flourished  about 
1624.  Among  his  works  were  twelve  plates  of 
antique  foliage  for  friezes.  Many  of  his  designs 
were  engraved  by  Odoardo  Fialetti. 

ZANCHI,  Antonio,  born  at  Este  in  16.39,  was 
a  scholar  of  the  naturalist,  Francesco  Ruschi. 
In  the  Scuola  di  San  Rocco,  Venice,  is  his  chief 
performance,  the  '  Prayer  of  San  Rocco.'  In  the 
Academy  of  Venice  there  are  two  of  his  works, 
'Job  upbraided  by  his  Wife,'  and  'The  Prodigal 
Son.'  A  sketch  for  an  '  Assumption  of  the  Virgin  ' 
is  in  the  Uffizi.  He  died  in  1722.  Fr.  Trevisani 
and  Pietro  Negri  were  his  pupils. 

ZANDER,  "Christoph  Eddard,  painter  and 
architect,  was  born  at  Radegast,  in  Anhalt,  in 
1843.  He  was  first  brought  up  to  farming,  but 
abandoned  that  pursuit  to  study  painting  at  Munich. 
In  1847  he  joined  Dr.  Schimper  at  Antitscho  in 
Abyssinia.     He  assisted  the  latter  in  his  scientific 

405 


A    BIOGRAPHICAL   DICTIONARY   OF 


pursuits,  and  madf>  drawings  of  animals,  plants, 
costumes,  and  landscapes.  The  regent  Ubi^  en- 
nobled him,  and  gave  him  command  of  the  artillery 
in  the  battle  of  Debela  against  King  Theodore. 
After  the  battle,  however,  Zander  went  over  to 
Theodore,  who  made  him  governor  of  the  fortified 
island  of  Gregora,  and  guardian  of  the  treasury 
and  archives ;  in  1868  he  was  made  Minister  of 
War,  but  died  in  September  of  the  same  year 
at  Mulkutto. 

ZANETTI,  Conte  Antonio  Maria,  sometimes 
called  GiROLAMO  to  distinguish  him  from  his 
nephew,  was  a  Venetian  nobleman,  celebrated 
both  for  his  collections  of  works  of  art  and  for  his 
own  work  as  an  amateur  engraver.  He  was  bom 
at  Venice  about  1680,  and  was  taught  drawing  as 
an  accomplishment.  At  the  age  of  fourteen  he 
etched  a  set  of  twelve  original  plates,  representing 
heads  and  figures,  which  he  dedicated  to  Dr.  Mead. 
He  afterwards  travelled  in  Italy,  France,  and  Eng- 
land, studying  the  best  collections  in  each  country. 
With  the  assistance  of  others,  he  published  a  great 
number  of  engravings  on  wood,  in  chiaroscuro,  a 
process  which  he  is  said  to  have  re-discovered 
from  the  drawings  of  Raphael,  Parraigiano,  and 
other  masters,  many  of  which  he  had  purchased 
at  the  sale  of  tlie  Arundel  Collection.  These  cuts 
are  divided  into  two  sets,  and  altogether  consist  of 
ninety-nine  prints,  with  the  portrait  of  Zanetti 
engraved  by  Faldoni  after  Rosalba,  as  frontispiece. 
Zanetti  was  also  a  writer  upon  art.  He  died  at 
Venice  in  1757.  He  marked  his  prints  with  a 
monogram,  composed   of  an  A,  an  M,  and  a  Z, 

thus,     ^'L'     Besides  those  already  named,  we 

have  the  following  etchings  by  him : 

A  series  of  Biblical  and  Mythologic.il  subjects. 
A  set  of  twelve  plates ;  after  B.  Castitjlione. 
A  collection  of  Public  Statues  in  Venice. 

ZANETTI,  Antonio  Maria,  'il  giovane,'  some- 
times called  Alessandro  to  distinguish  him  from 
his  uncle,  was  the  nephew  of  the  last  named,  and 
was  born  at  Venice  about  the  year  1716.  He  was 
librarian  of  St.  Mark,  and  was  not  less  distin- 
gui.shed  than  his  uncle  for  his  love  of  art.  In 
1760  be  published  a  set  of  eighty  plates,  de- 
signed and  etched  by  himself,  from  the  works  of 
the  Venetian  painters,  entitled  '  Varie  Pilture  a 
fresco  de'  principali  Maestri  Veneziani,'  &c.,  and 
also  assi-sted  his  uncle  in  engravings  from  the 
Venice  statues.  The  work,  however,  by  which  he 
is  best  known,  is  his  '  Pittura  Veneziana,'  a  history 
of  painting  in  Venice,  in  five  books  (Venice,  1771). 
He  died  in  1778. 

Z.\NETTI,  DoiiENlco,  a  Bolognese  painter,  who 
worked  at  the  Electoral  Court  of  Dusseldorf  at 
the  beginning  of  the  18th  century.  In  the  Munich 
Pinakothek  there  is  a  '  Deposition  '  by  him. 

ZANETTO.     See  Bdgatti. 

ZANGANELLI  (Zaganelli).     See   Dei   Zaga- 

NELLI. 

ZANI,  Giovanni  Battista,  was  a  native  of 
Bologna,  and  a  scholar  of  Giovanni  Andrea  Sirani. 
He  endeavoured,  about  the  middle  of  the  17th 
century,  to  form  a  collection  of  etchings  from  the 
works  of  the  most  eminent  Bolognese  painters, 
and  for  that  purpose  bad  completed  the  drawings 
from  the  cloisters  of  San  Michele  in  Bosco,  but 
died  young  before  the  etchings  were  finished. 
There  is  but  one  print  known  by  him,  which  is  of 
great  rarity ;  it  is  a  '  Glory,'  after  L.  Carracci. 

406 


ZANIMBERTI,  FilippO,  (or  Zaniberti,)  was 
born  at  Brescia  in  1585,  and  brought  up  in  Venice, 
in  the  school  of  Santa  Peranda.  He  painted  history 
in  the  style  of  his  master,  and  pictures  by  him 
are  in  the  churches  of  Brescia  and  Venice,  notably 
a  large  '  Miracle  of  the  Manna,'  at  Santa  Maria 
Nuova  in  the  latter  city.  He  also  painted  easel 
pictures,  historical  and  fabulous  subjects,  into 
which  he  introduced  a  great  number  of  small 
figures.      He  died  in  1636. 

ZANNICHELLI,  Prospero,  a  theatrical  painter, 
born  1698,  died  1772,  who  flourished  at  Reggio. 

ZANOBI  Di  BENEDETTO.     See  Strozzl 

ZANOBRIO.     See  Carlevariis. 

ZANOTTI.    See  Cavazzoni  Zanotti. 

ZANOTTO.     See  Bdgatti. 

ZANUSI,  Jakob,  was  born  in  the  Tyrol  about 
1700,  and  studied  in  Venice.  He  became  court 
painter  to  the  Archbishop  of  Salzburg,  and  executed 
some  historical  pictures,  including  an  altar-piece  at 
Salzburg,  and  several  portraits  of  the  Firmian 
family  at  the  Castle  of  Leopoldskron.  He  died 
at  Salzburg  in  1755. 

ZAPPI.    See  Fontana,  Lavinia. 

ZARA,  Lorenzo  da.    See  Luzzr. 

ZARATO.     See  Lnzzi. 

ZARINENA,  Francisco,  was  born,  according  to 
Palomino,  about  the  year  1550.  He  went  to  Italy 
when  he  was  young,  where  he  was  a  scholar  of  the 
elder  Ribalta.  His  principal  works  were  altar-pieces 
for  Valencian  churches.  He  died  in  1624,  leaving 
two  sons,  Cristobal  and  Juan,  who  were  his 
disciples,  and  painted  history  in  the  style  of  their 
father.  Cristobal  died  at  Valencia  in  1622,  and 
Juan  in  1634.  Several  of  their  works  are  in  the 
public  buildings  of  Valencia. 

ZARLATTI,  GlOSEFFO,  an  engraver,  was  born  at 
Modena  about  the  year  1635,  and  died  very  young. 
We  have  a  few  original  etchings  by  him,  of  historical 
and  fancy  subjects,  executed  with  much  spirit. 

ZASINGER.     See  Zatzinqes. 

ZATZINGER,MARTiN,(or  MATnEns),a  goldsmith- 
engraver,  working  at  Munich  about  the  year  1500. 
Much  doubt  exists  as  to  his  identity,  there  having 
been   other  masters   contemporary   with   him,   to 

whom  the  monogram  KK,'~^1  °^  '^^^^  vi'ith 
which  certain  prints  from  metal  of  the  early  Ger- 
man school  are  signed,  may  also  be  ascribed, 
namely,  Matheus  Zinck  and  Matheus  Ziindt  {q.  v.), 
and  one  Mathes  Zwikopp,  a  goldsmith  of  Munich, 
to  whom  Nagler  is  inclined  to  assign  the  prints 
initialed  M.  z.  The  names  Zagel,  Zdigler,  Zei- 
SINGER,  have  also  been  suggested.  Duplessis  and 
Thausing,  however,  speak  confidently  of  the  master 
M.  Z.  as  Mathajus  Zasinger,  or  Zatzinger.  The 
earliest  date  on  bis  existing  works  is  1600,  and  he 
is  thought  not  to  have  been  alive  after  1509.  The 
master  JI.  Z.  is  also  said  to  have  been  a  painter 
and  pupil  of  Wolgemut.  The  following  prints 
assigned  to  him  are  in  the  British  Museum : 

1.  Solomon  adoring  Idols.     (Dated  1501.) 

2.  Virgin  and  Child  ('  Mater  Amabilis  ').    {Dated  1501.) 

3.  The  Beheading  of  St.  John  Baptist. 

4.  St.  Christopher. 

5.  St.  George  and  the  Dragon . 

(I.  The  Martyrdom  of  St.  Barbara. 

7.  The  Martyrdom  of  St.  Catharine  of  Alexandria. 

8.  St.  Catharine  of  Alexandria. 

9.  St.  Margaret. 

10.  St.  Ursula. 

11.  Kntertainment  at  the  Court  of  Munich,  given  by  the 
Grand  Duke  Albrecht  IV.     (Dated  1500.^ 


JOHANN  ZAUFFELY 

CALLED 

ZOFFANY 


ManscU  phofo\ 


THE  CABIN  OF  THE  NORFOLK 


JOHANN  ZAUFFELY 


Z OF FA NY 


I  la  nfs  tdngl  photo] 


\_Niitional  Gallery 


SIR  JAMES  COCKBURN  (SIXTH  BART.) 
AND  HIS  DAUGHTER 


PAINTERS  AND   ENGRAVERS. 


12.  The  Great  Touruameut  at  Munich  in  1.500. 

13.  The  King's  Sons  shooting  at  the.  Dead  Body  of 
their  Father;  or.  The  Trial  of  Filial  .Vfifectiou. 
{Erroneously  described  by  Bartsch  as  a  'Martyrdom 
of  St.  Sebastian.*) 

14.  The  Subjugation  of  Man  by  Woman. 

15.  The  Embrace.     (Dated  1503.) 

16.  The  Two  Lovers. 

17.  A  Lady  and  Gentleman  together  on  Horseback. 

18.  A  Rencontre. 

19.  Soldiers  and  Military  Band. 

20.  "Warriors  conversing. 

21.  Life  and  Death  ;  an  Allegory. 

22.  Light  and  Darkness  ;  an  Allegory.     (Dated  1500.) 

23.  Sensuality  and  its  Cost  (?).  p  g 

ZAUFFELY,  Johann,  generally  called  Zoffany, 
was  horn  at  Ratisbon   in  1733.      His  father,  de- 
scended from  a  Bohemian  family,  waa  architect  to 
the  Prince  of  Thurn  and  Taxis.     Zoffany  was  first 
instructed  by  Speer,  in  his  native  city.    He  is  said  to 
have  run  away  to  Rome  at  the  age  of  thirteen,  to 
carry  on  his  studies  in  painting,  but  it  seems  that  his 
father  continued  to  befriend  him,  and  he  remained 
in   Italy  altogether  twelve  years.     On  returning 
to  Germany  he  made  an  unhappy  marriage,  which 
led  him  in  1758  to  come  to  England.   Here,  however, 
he  for  some  time  met  with  so  little  encouragement, 
that  he  was  reduced  to  great  distress.     At  last  a 
portrait  he   painted   of   the    Earl    of    Barrymore 
caused  Lord  Bute  to  recommend  him  to  the  Royal 
Family.      He   soon  afterwards   began   to   acquire 
fame  by  his  portraits  of  actors  in  character,  which 
are  admirable  for  their  truth  and  vivacity  of  ex- 
pression.    Of  these,  the  best,  perhaps,  were  Garrick 
as    'Abel    Drugger,'  Foote   and  Weston    as  'Dr. 
Last,'  and  Foote  as  '  Major  Sturgeon.'     The  first  of 
these  was  exhibited  with  the  Incorporated  Society 
of  Artists  in  17G2.     ZofEany  was  also  a  member 
of  the  St.  Martin's  Lane  Academy,  and  in  1769 
was    admitted    to    tlie   newly   established    Royal 
Academy,    of  which   lie   painted    many   portraits 
of   the  members.      He   also   painted   a   group  of 
the  Royal  Family,  and  on  its  completion  engaged 
to   accompany   Sir   Joseph    Banks   upon   Captain 
Cook's   voyage,    but    threw   up    his   engagement 
from  dissatisfaction  with  the  cabin  allotted  him,  and 
finding  this  displeasing  to  many  friends  who  had 
given  him  commissions,  as  well  as  financially  em- 
barrassing, he  resolved  to  proceed  a  third  time  to 
Italy.     King  George  III.  gave  him  an  introduction 
to  the  Grand  Duke  of  Tuscany,  and  he  was  also 
assisted  by  a  present  of  £300.     While  in  Florence 
he  painted  liis  Interior  of  the  Florentine  Gallery, 
now  in  the  Royal  Collection.     Maria  Theresa  sent 
him  a  commission  to  paint  for  her  the  Royal  Family 
of  Tuscany,  which    led  to   his  going  in   1778  to 
Vienna,  and  being  there  raised  to  the  rank  of  a 
baron  of  the  empire.     He  passed  through  Coblentz 
to  England  in  1779.     Four  years  later  he  met  with 
an  opportunity  to  go  to  India,  where  he  acquired  a 
competent  fortune  by  the  exercise  of  his  talents. 
Although   he  continued   to   paint  after  liis  return 
from  India,  in  1790,  it  was  evident  that  his  mental 
powers  and  his  general  health  were  weakened,  and 
his  later  productions  exhibit  little  of  the  vigour 
which  characterizes  his  earlv  works.     He  died  at 
Strand-on-the-Green,    near    Kew,    November    11, 
1810,  and  was  buried  in  Kew  churchyard.     There 
are  some  portrait  groups  by  him  iu  the  Royal  Col- 
lection ;  the  College  of  Physicians  possesses  a  '  Dr. 
W.  Hunter,  M.D.,  delivering  a  lecture  on  anatomy 
before  the  Royal  Academy ;'  in  the  Diploma  Gallery 
at  Burlington  House  there  is  more  than  one  interior 
of  a  painting  school  which  may  be  ascribed  to  him. 


Sir  G.  Beaumont  has  two  theatrical  groups  by 
Zoffany  ('Parsons  and  two  others  in  ''The 
Kaiser,"'  and  'Garrick  and  King  in  "Lethe"') 
in  which  the  landscape  background  is  by  Richard 
Wilson.  His  best  known  Indian  pictures  ar^ 
'Col.  Mordaunt's  Cock  Fight,'  'The  Embassy  of 
Hyder-Beck,'  and  '  The  Tiger  Hunt.' 

ZAVATTARI,  The,  a  family  of  artists  who 
were  working  at  Milan  and  in  the  neighbourhood 
throughout  the  15th  century.  The  name  of  the 
painter  Cbistoforo  occurs  as  early  as  1402;  in 
1404  he  was  valuing  glass  paintings,  and  later  he 
received  payment  for  sculpture  and  other  works; 
Franceschin'o  Zavattari  is  mentioned  as  a  glass 
painter  in  1417  ;  Ambrogio  executed  a  painting 
on  the  ceiling  of  the  chapel  of  the  Four  Evange- 
lists in  the  Cathedral,  and  another  work  there, 
which  was  valued  by  Cristoforo  da  Monza  and 
Gottardo  Scotto  in  1460  ;  and  Gregorio,  the  son  of 
Francesco,  is  known  as  the  author  of  several  works, 
namely,  a  Madonna  in  the  Santuario  of  Corbetta, 
signed  and  dated  1475,  which  painting  is  still  in 
existence,  and  frescoes  in  the  Church  of  S.  Maria 
at  Caravaggio  of  1477,  and  (in  company  with 
Francesco)  m  that  of  S.  Margherita  at  Milan,  all 
of  which  have  perished.  In  ad.iition  to  these  four 
artists,  several  other  painters  of  the  Zavattari 
family  are  known  to  us  by  name,  i.e.  Giovanni, 
the  father  of  a  second  painter  of  the  name  of 
Francesco,  Vincenzo,  Guglielmo,  and  Giangia- 
COMO.  The  frescoes  iu  the  Capella  del  Rosario  in 
the  Cathedral  at  Monza,  representing  forty  scenes 
from  the  legend  of  the  Queen  Theodolinda,  were 
executed  by  some  members  of  this  family,  as 
attested  by  an  inscription,  and  it  has  been  surmised 
that  the  principal  executants  may  have  been  Fran- 
ceschino  and  Giovanni.  The  inscription,  which  is 
still  decipherable,  on  the  right  wall  of  the  chapel, 
is  as  follows : 

1444. 
Puspice  qui  tr.iusis,  ut  vivos  corpore  vultus 
Peneque  spirantes,  et  sigua  siinilliiua  verbis. 
De  Zavattariis  hanc  ornavere  capellam 
Praeter  in  excelso  convexae  picta  triunae. 

In  spite  of  this,  later  writers  hare  ascribed  the 
series  to  Troso  da  Monza,  an  attribution  devoid  of 
all  foundation.  The  frescoes,  begun  in  the  reign 
of  Filippo  Maria  Visconti,  could  not  have  been 
completed  until  after  1450,  as  certain  emblems  of 
Francesco  Sforza  are  introduced  in  the  paiiitingsi 
beneath  the  windows.  In  1453  Ambrogio,  Gregorio 
and  Francesco  Zavattari  are  mentioned  in  con- 
nection with  works  for  the  Certosa  of  Pavia.  The 
wall  paintings  in  the  Church  of  Monzoro  near 
Cusago  are  also  ascribed  to  the  Zavattari  by  some 
critics.  c  J  Ff. 

ZAWORZIC.     See  Screta. 

ZAYSINGER.     See  Zatzinger. 

ZE.     See  De  Ze. 

ZEELANUER,  Abraham,  engraver,  born  at 
Amsterdam  in  1789,  was  a  pupil  of  J.  E.  Marcus. 
He  engraved  plates  after  Gerard  Dou,  Brondgecsl, 
Noel  and  B.  van  Overbeck  ;  and  six  original  land- 
scapes with  figures.  He  was  for  many  year.-< 
occupied  in  making  a  set  of  outline  engravings 
from  pictures  in  the  possession  of  William  II.  of 
Holland. 

ZEEMAN,  Enoch.    See  Seeman. 

ZEEMANN.     See  Nooms,  Remigids. 

Zl'IEUW.     See  Marinds  de  Zeeuw. 

ZKGELAAR,  Gerard,  born  at  Loenen,  July  16, 
1719 ;   married  Maria  Van  den  Steen,  1757 ;   "as 

407 


A   BIOGRAPHICAL  DICTIONARY   OF 


living  at  Ameterdam  in  1773;  one  of  the  last 
followers  of  Gerard  Don.  He  painted  portraits 
and  interiors.     He  died  at  Wageningen  in  1794. 

ZEGHERS,  Daniel,  (Segeus,  &c.,)  was  born  at 
Antwerp  in  1590.  lie  was  first  a  pnpil  of  his 
father,  Pieter  Zeguers,  but  his  taste  led  him  to 
flowers  and  fruit,  and  he  became  a  disciple  of  Jan 
Brueghel,  who  at  that  time  painted  those  subjects. 
He  was  admitted  a  master  of  the  Guild  in  1611  ; 
but  in  1614  he  became  a  Jesuit,  and  abandoned 
painting  during  his  novitiate.  When  this  expired, 
he  obtained  permission  to  visit  Home,  where  his 
brother  Gerard  had  already  made  a  name.  After 
a  time  Zeghers  returned  home,  and  his  reputation 
grew  rapidly.  Many  princes  sought  his  works, 
and  his  convent  grew  rich  by  meeting  their 
wishes.  He  was  the  friend  of  Rubens,  for  whom 
he  frequently  painted  garlands  and  borders  of 
flowers  around  portraits  and  historical  subjects. 
His  chef  d'oeuvre,  perhaps,  is  the  garland  about 
a  Virgin  and  Child,  by  Rubens,  in  the  Jesuits' 
church  at  Antwerp.  Others  with  whom  he  colla- 
borated in  the  same  fashion  were  Erasmus  Quellinus 
the  younger,  Cornells  Schnt,  and  Abraham  van 
Diepenbeeck.  Many  of  his  garlands,  with  medal- 
lions by  contemporary  artists,  were  painted  for 
Jesuit  colleges  and  chapels,  and  on  the  suppression 
of  the  order,  the  best  of  tliese  were  transported  to 
the  Imperial  Gallery  in  Vienna.  Others  were  sold 
,at  low  prices  by  the  Austrian  Government.  Zeghers 
himself  cultivated  the  flowers  whicli  served  liiiu 
for  models,  and  he  gave  to  his  imitations  the 
beauty,  brilliancy,  and  variety  with  which  nature 
had  clothed  the  originals.  He  died  at  Antwerp  in 
1661.  The  following  galleries  possess  examples 
of  his  work :  Antwerp,  Berlin,  Brussels,  Bologna, 
Copenhagen,  Dresden,  Dulwich  (a  very  fine  one), 
Florence  (Uffizi),  the  Hague,  Sladrid,  Munich, 
Rotterdam,  and  Vienna. 

ZEGHERS,  Gerard,  (Seghees,  &c.,)  the  brother 
of  Daniel  Zeghers,  was  born  at  Antwerp  in  1591. 
He  was   first  a  scholar  of  Hendrik  van  Balen.  but 
afterwards  studied  under  Abraham  Janssens,  and 
in  Italy.     On  his  arrival    at  Rome,  he  became  a 
disciple  of  Bartolommeo  Manfredi,  who  had  studied 
under  Caravaggio.     He   painted  street  musicians, 
soldiors  at   cards,   and   so  forth,  in   Caravaggio's 
manner.     He  had  won  some  notoriety  by  his  pro- 
ductions of  that  description,  when  he  was  carried 
by  Cardinal   Zapara,   the  Spanish   ambassador  at 
Rome,  to  the  court  of  Madrid.     He  then  entered 
the  service  of  the  Spanish  king.     For  him  Zeghers 
painted   historical  subjects,  and  musical  convers- 
ations, which   were   greatly   admired  ;    but   after 
some  years  at  Madrid  (between  1610  and   16:20) 
the  desire   to  revisit   his  native  country  induced 
him  to  seek  permission  to  return  to  Flanders.     On 
his  arrival  at  Antwerp,  he  painted  some  pictures 
for  the  churches  in  imitation  of  the  style  of  Cara- 
vaggio, but  they  were  not  so  favourably  received 
by  the  public  as  he  expected.     It  is  asserted  by 
D'Argenville,  and  after  him  by  Deschamps,  that 
Zeghers  visited  England  ;  but  this  statement  rests 
on  no  other  authority,  nor  is  Zeghers  mentioned  by 
Walpole.     Van  Dyck  painted  his  portrait,  which 
Pontius  engraved ;    another,  painted    by  himself, 
was  engraved   by  Pieter  de  Jode.      He   died    at 
Antwerp,  March  17,  1651.     His  works  are  fairly 
numerous ;   the  best,  perhaps,  are   the  '  Marriage 
of  the  Virgin '  at   Antwerp,   and  '  Christ   in   the 
House  of  Martha  and  Mary'  at  Madrid.      Others 
408 


are  in  the  Louvre,  and  in  the  museums  of  Rotter- 
dam, Brussels,  Ghent,  Vienna,  &c. 

ZEGHERS,  Herkdles,  (Seghers,  or  Seoers,) 
a  Dutch  painter  of  landscapes  and  animals,  who 
must  not  be  confused  with  the  Flemish  artists 
of  the  same  name.  He  was  born  about  1625. 
That  he  was  a  favourite  with  Rembrandt  maj- 
be  gathered  from  the  fact  that  no  less  than  six 
of  his  landscapes  occur  in  the  inventory  of  that 
master's  effects,  taken  under  the  law  process 
of  1656.  It  is  said  that  he  invented  a  method 
of  engraving  and  printing  landscapes  in  colours 
on  cloth  ;  and  also  that  in  1660  he  practised  what 
is  now  called  aquatint.  In  the  British  Museum 
there  are  prints  from  nineteen  etchings  by  this 
artist.  One  was  adopted  by  Waterloo,  with  the 
addition  of  some  foliage  to  the  trees.  In  the 
French  National  Library  there  are  three  more 
etchings  by  him,  and  in  the  Dresden  collection 
fifteen.  Zeghers  abandoned  himself  to  drink,  and 
is  said  to  have  lost  his  life  in  consequence  by  a 
fall.     He  died  about  1679. 

ZEGHERS,  Jan  Baptist,  painter,  the  son  of 
Gerard  Zeghers,  was  born  at  Antwerp  in  1624. 
He  was  received  into  the  Guild  of  St.  Luke  in  1646, 
as  the  son  of  a  master,  and  in  1649  he  was  working 
at  Vienna,  under  the  patronage  of  the  Duke  of 
Amalfi,  wlio,  on  the  return  of  the  artist  to  his 
native  country,  warmly  recommended  him  to  the 
Governor  of  the  Netherlands,  the  Archduke  Leopold. 
He  was  Dean  of  the  Guild  of  St.  Luke  in  1669,  and 
died  in  1670  or  1671. 

ZEHENDER,  Karl  Ludwig,  (or  Zehnter,)  a 
Swiss  painter  and  engraver,  was  born  at  Gerzensee 
in  1751.  In  1769  he  went  to  Paris,  and  was  ap- 
pointed designer  to  the  Duke  of  Ohartres.  He 
painted  landscapes  in  water-colour,  as  well  as 
battles,  popular  subjects,  and  scenes  from  Swiss 
history  ;  among  the  latter  '  The  Death  of  Winkel- 
ried  '  and  '  The  Condemnation  of  Tell.'  He  died  at 
Berne  in  1814. 

ZEI, ,  a  native  of  Citta  San  Sepolcro,  and 

supposed  scholar  of  Cortona,  flourished  about  the 
beginning  of  the  18th  century,  and  painted  an 
altar-piece  for  the  cathedral  of  his  native  placo, 
representing  the  liberating  Angel  visiting  the  Souls 
in  Purgatory. 

ZEILLER.  This  was  the  name  of  a  family  of 
painters  of  Reutte  in  the  Tyrol,  in  the  17th  and  18th 
centuries. 

ZEILLER,  Franz  Anton,  was  born  in  1716. 
He  was  Paul's  second  son.  He  studied  under 
Holzer  and  Gotz  at  Augsburg,  under  Corrado  at 
Rome,  and  under  Ricci  at  Venice.  After  his  return 
home  he  worked  chiefly  for  Tyrolese  churches.  He 
died  after  1794. 

ZEILLER,  JoHANN  Jakob,  was  born  in  1710,  and 
was  also  Paul's  son.  He  studied  under  C'onca  at 
Rome,  and  under  Solimena  at  Naples.  He  long 
worked  in  the  former  city,  where  he  became  a 
member  of  the  Academy.  He  painted  in  fresco 
for  various  monasteries  and  for  the  churches  of 
Reutte  and  its  vicinity.     He  died  in  1783.  _ 

ZEILLER,  Paul,  was  born  at  Reutte  in  1653. 
He  studied  under  Calabrese  in  Rome,  and  then 
returned  to  Reutte  and  painted  for  churches  there 
and  in  other  parts  of  the  Tyrol.     He  died  in  1736. 

ZEISIG,  JoHANN  Eleazau,  (called  Schenau,  or 
Schonad,)  a  German  painter  and  engraver,  was 
born  at  Gross  Schonau,  near  Zittau,  in  or  soon 
after  1737.  He  ran  away  from  his  father's  house 
to  Dresden,  where  he  combined  work  as  a  lawyer's 


PAINTERS  AND   ENGRAVERS. 


clerk  with  the  study  of  art.  He  was  at  last 
helped  by  Bessler  to  enter  the  Academy,  where  he 
attracted  Silvestre's  attention,  and  was  by  him 
taken  to  Paris  in  1756.  After  many  vicissitudes, 
he  was,  in  1770,  invited  back  to  Dresden.  Two 
years  later  he  was  appointed  director  of  the  school 
of  design  at  the  Meissen  porcelain  manufactory  ;  in 
1774  he  became  professor  at  Dresden ;  and,  in  1777, 
jointly  with  Casanova,  director  of  the  Dresden 
Academy.  In  1772  he  painted  an  'Allegory  upon 
the  Recovery  of  the  Electress,'  and,  in  1790,  a 
'  Crucifixion  '  for  the  Kreuzkirche.  He  also  painted 
numerous  genre  pictures,  and  etched  a  set  of  twelve 
plates,  with  a  frontispiece  inscribed  '  Achetez  raes 
petites  eaux  fortes  k  la  douzaine '  (1765).  He  died 
at  Dresden  in  1806. 

ZEITBLOM,  Barthoi.omSus,  (or  Zeytblom,)  a 
German  painter  of  Uhn,  of  whom  personally 
all  that  is  known  is  that  in  1483  he  married  a 
daughter  of  Hans  Scliiichlin,  becoming  thereby 
connected  with  Martin  Schaffner,  and  that  his 
death  took  place  in  or  after  1518.  His  name  occurs 
in  the  civic  records  of  Ulm  from  1484  to  1518.  It 
is  said  that  he  was  a  pupil  of  Sohongauer,  and  his 
works  show  the  influence  of  both  the  Franconian 
and  Augsburg  schools,  modified,  however,  by  the 
originality  of  his  own  genius.  In  sincerity,  sim- 
plicity, and  purity  of  feeling,  he  is,  says  Waagen, 
'  of  all  painters  the  most  thoroughly  German.' 
(For  '  German,'  Woermann  would  here  substitute 
'Swabian.')  His  forms  are  sometimes  awkward, 
the  arms  and  legs  meagre  and  stiff,  but  the  heads 
beautiful,  with  an  expression  of  mild  serenity  and 
repose ;  his  colour  is  rich  and  harmonious,  his 
draperies  are  full  of  dignity  and  skilfully  cast.  The 
latest  date  on  any  of  his  authentic  pictures  is  1504, 
on  a  picture  of  the  Pope-saint,  Alexander,  at 
Augsburg.     Works  : 

Augsburg.  Galleiy.    Four  panels  from  the  Legend 

of  S.  Valentine. 
Berlin.  3Iuseum.     Angels   holding   np  the  Snda- 

rium  (the  back  of  a  triptych 
formerly    at     Eschach,     the 
wings   of  which   are  in   the 
Stuttgart  Gallery). 
„  .,  S.  Peter. 

Blaubeuren.)  ,r  ,     (  The  wings  of  the  carved  altar- 

near  Ulm.     j  '  '^'  i      piece,  painted  on  both  sides, 

with  scenes  from  the  Passinn 
and  from  the  life  of  S.  Joliii 
Baptist.     Figures   uf    Saints 
at  tlie  back  of  the  Shrine. 
Carlsruhe.  Gallery.    S.  Virgilius  of  Salzburg,  and  S. 

Laurence. 
„  „  S.  Maurice  and  S.  Sebastian. 

„  „  A  Priest  elevating   tlie   Host, 

surrounded    by    .Saints    and 
Angels. 
„  „  Allegory  of  the  Churcli    Mili- 

tant  and    the    Church    Tri- 
umphant. 
Munich.         Pinakoihek.     S.  Bridget. 

„  „  S.  Marg,aret  and  S.  Ursula  (two 

companion   panels,  formerly 
in     the      Moritzkapelle      at 
Xureraberg). 
Sigmaringeu.         Pri>u-e  )  Eight  panels  with  scenes  from 
Hohen:olkrn's  Coll.  J      the  Life  of  the   Virgin  (for- 
merly at  Pfullendorf). 
Stuttgart.  Gallery.     Si.xteeu  pictures,  among  them 

an  altar-piece  from  the 
Church  of  the  Hospice  in 
the  Kocherthal — the  Na- 
tivity and  Presentation — with 
portrait  of  the  master  at  the 
back  of  the  shrine,  signe-l, 
and  dated  1497. 


Other  pictures  at  Nuremberg  (Germanic  Museum), 
Nordlingen,  Ulm,  Donaueschingen.  In  the  '  Archiv 
fiir  die  zeichnenden  Kiinste,'  for  1860,  Ilarzen 
ascribes  a  series  of  old  Netherlandish  (?)  prints, 
of  wdiich  facsimiles  exist  in  the  British  Museum,  to 
Zeitblora.  These  prints  have  given  rise  to  much 
discussion,  but  their  ascription  to  Zeitblom  is  not 
generally  accepted.  jr,  s. 

ZEITTER,  John  L.,  a  German  painter  naturalized 
in  England.  He  painted  chiefly  Polish  and  Hun- 
garian scenery,  and  domestic  subjects.  Between 
1832  and  1862  he  exhibited  three  hundred  and 
nineteen  pictures  at  the  British  Institution,  and 
with  the  Society  of  British  Artists.  Of  tlie  latter 
body  he  was  elected  a  member  in  1841.  He  died 
in  London  in  1862. 

ZELLER,  Anton,  a  German  painter,  of  whose 
life  no  details  can  be  learnt.  He  was  at  work  in 
Dresden  about  the  middle  of  the  18th  century,  and 
he  is  mentioned  in  Bavarian  documents  of  1785. 
There  is  a  picture  by  him  in  the  Schleissheim 
Gallery,  and  in  that  of  Darmstadt,  two  copies,  one 
after  Mengs,  the  other  after  Guido  Reni.  The 
subject  of  tlie  Schleissheim  picture  is  a  school- 
master reading  a  paper  to  a  circle  of  listeners. 

ZELOTTI.     See  Faeinati,  Giov.  Batt. 

ZENALE.    See  Martini,  Bernardino. 

ZENOBRIO,  LucA  di  CX.     See  Garlevariis. 

ZENOI,  DoMENiCO,  (or  Zenoni,)  was  an  Italian 
engraver,  who  flourished  about  the  year  1570.  He 
worked  in  a  style  resembling  that  of  Marco  da 
Ravenna,  and  is  supposed  to  have  been  a  disciple 
of  that  master.  He  engraved  a  set  of  portraits 
entitled,  '  lUustrium  Jurisconsultorum  Imagines.' 

ZEREZO.     See  Cerezo. 

ZETTER,  Paul  de.     See  De  Zetter. 

ZEUXIS,  the  most  distinguished  painter  of  anti- 
quity, was  a  native  of  Heracleia,  whether  the  one  in 
Lower  Italy  or  that  on  the  shores  of  the  Black  Sea 
is  uncertain.  It  is  stated  that  he  was  born  in  the 
78th  Olympiad  (B.C.  464-60),  and  died  R.c.  396. 
He  was  probably  a  disciple  of  Apollodorus  ;  it  is  at 
least  certain  that  they  lived  in  habits  of  intimacy, 
and  Pliny  informs  us  that  Apollodorus  wrote  some 
verses  in  praise  of  his  talents,  in  which  he  complains 
that  "  the  art  of  painting  had  been  stolen  from  him, 
and  that  it  was  Zeuxis  who  committed  the  theft." 
He  did  not,  like  Polygnotus,  occupy  his  talents  in 
large  compositions,  but  confined  himself  to  single 
figure^,  and  was  particularly  successful  in  the 
beautiful  forms  of  his  women.  He  preferred  the 
sensuous  beauty  of  the  Asiatic  school  to  the  strict 
idealism  of  the  painter  just  named.  Amongst  his 
principal  works,  Pliny  mentions  a  picture  of 
Penelope,  in  which  he  seemed  to  have  expressed 
the  mind  of  that  princess.  The  Crolonians  having 
commissioned  him  to  paint  a  picture  of  Helen,  he 
selected  five  of  the  most  beautiful  young  women  of 
the  city,  and  uniting  in  his  single  figure  what- 
ever was  most  perfect  in  his  models,  produced  a 
work  of  surpassing  loveliness.  The  subject  was 
taken  from  the  passage  in  the  '  Iliad  '  where  Helen 
passes  before  the  Trojan  elders  assembled  at  the 
Sc^an  Gate.  The  painter  Nicomachus  seeing  this 
picture  some  time  afterwards,  could  not  restrain 
the  expression  of  liis  admiration,  when  a  bystander, 
not  ei^ually  capable  of  appreciating  its  excellence, 
demanded  what  he  saw  in  the  picture  to  excite 
such  sensations.  "Ah,"  replied  the  painter,  "take 
my  eyes,  and  she  will  appear  to  you  a  goddess  I  " 
A  picture  of  '  The  Centaur  Family  '  was  another  of 
his  best  productions,  but  it  gave  rise  to  the  remark 

409 


A  BIOGRAPHICAL   DICTIONARY   OF 


of  Lucian  tliat  Zeuxis  chose  his  subjects  for  their 
Bingiilarity  ;  it  is  stated,  however,  that  he  withdrew 
this  very  picture  from  exhibition  on  finding  tliat 
its  sensational  character  blinded  observers  to  its 
artistic  merits. 

The  story  told  by  Pliny  of  the  competition 
between  Zeuxis  and  Parrhasius,  though  very  gener- 
ally known,  must  not  be  omitted  liere.  Zeuxis 
painted  a  bunch  of  grapes  with  such  truth  to 
nature  that  birds  came  and  pecked  it.  Parrhasius 
then  produced  his  picture,  which  appeared  to  be 
concealed  under  a  curtain  ;  but  U])on  his  rival 
calling  upon  him  to  remove  this,  it  turned  out  on 
inspection  that  the  curtain  was  the  picture  itself. 
Zeuxis  at  once  confessed  himself  defeated,  observ- 
ing that  though  he  had  deceived  the  birds,  Parrha- 
sius had  deceived  the  author  of  that  deception. 
In  another  instance,  Zeuxis  is  related  to  have 
painted  a  boy  with  grapes,  which  the  birds  again 
pecked  at,  but  this  time  the  artist  was  mortified  at 
the  result,  declaring  that  if  he  had  painted  the  boy 
as  naturally  as  the  grapes,  the  birds  would  not 
have  dared  to  approach  them 

Zeuxis  also  painted  an  '  Assembly  of  the  Gods,' 
'  Jupiter,'     '  Hercules     strangling     the    Serpent,' 
'  Cupid    crowned  with    Roses,'  '  Marsyas   Bound,' 
'  Pan,'  '  Alcmene,'  '  Menelaus,'  '  An  Athlete,'  and 
'  An  Old  Woman.'     He  decorated  the  palace  of  the 
Macedonian    king,  Archelaus,  with  pictures,  but 
most  of  his  best  works  were  carried  to  Home,  and 
thence  to   Constantinople,    where    they    perished. 
From  the  total  omission  of  his  name  by  Pausanias, 
it  seems  clear  that  they  must  all  have  been  dis- 
persed and  lost  sight  of  even  before  that  writer's 
time. 
ZEVIO,  A.  DA.     See  Altichiero. 
ZEVIO,   Stefano  da.     See  under  Stefano  da 
Verona. 
ZEYL.     See  Zijl. 
ZEYSINGEH.     See  Zatsinger. 
ZEYTBLOM.     See  Zeitblom. 
ZIARUKO,  JonN,  was  a  native  of  Poland,  and 
was  probably  a  painter.     We  have  by  him  a  set  of 
large  original  etchings,  reprc-Kcnting  the  ceremonies 
at  the  coronation  of  Louis  XIII.  of  France. 

ZICK,  Jandarius,  was  born  at  Munich  in  1733, 
or  1784.  He  was  at  first  a  pupil  of  his  father, 
Johann  Zick,  but  in  1757  he  went  to  Basle  and  then 
to  Rome,  where  he  became  acquainted  with  Rafael 
Mengs.  On  his  return  he  was,  in  1761,  ajipointed 
court  painter  at  Coblentz.  He  also  painted  exten- 
sively in  the  churches  of  Upper  Swabia,  and  in 
Biberach.     He  died  at  Ehrenbreitstein  in  1797. 

ZICK,  Johann,  painter,  was  born  at  Ottobeuern 
in  1702,  and  died  at  Bruchsal  in  1762.  He  studied 
in  Venice,  and  worked  as  a  decorative  painter  in 
the  Castles  of  Bruchsal  and  Wiirzburg. 
ZIEBERLEIN.  See  ZtiBERLEiN. 
ZIEGLER,  Claude  Jules,  a  French  historical 
and  portrait  painter,  born  at  Langres,  March  16, 
1804.  He  worked  in  the  atelier  of  Ingres,  and 
subsequently  studied  fresco  under  Cornelius  at 
Munich.  His  pictures  began  to  appear  at  the  Salon 
in  1830,  and  he  soon  acquired  sufficient  reputation 
to  be  intrusted  with  large  decorative  works  in  the 
Madeleine.  These  occupied  him  from  1835  to 
1838.  He  subsequently  devoted  considerable 
attention  to  ceramic  art,  and  in  1850  published 
'Etudes  C^ramiques.'  There  is  also  a  report  by 
him  on  Photography  at  the  Paris  Exhibition  of 
1865.  In  his  later  years  he  held  the  position  of 
director  of  the  Dijon  Academy  and  Museum.  He 
410 


died  in  Paris,  December  25,  1856.     Amongst  his 
pictures  are : 


Amiens. 

Hdtelde  rule. 

The  Peace  of  Amiens. 

Dijon. 

Museum. 

*  Lfcs  Pasteurs.* 

„ 

n 

A  Summer  Shower. 

Lyons. 

11 

Judith.     1847. 

Nancy. 

St.  George. 

Versaillos 

Palace. 

Louis  XIV.  receiving  Cardinal 
Chigi. 

„ 

ji 

Comte  de  Sancerre. 

»» 

ti 

Various  portraits. 

ZIEGLER,  Henry  Bryan,  portrait  and  landscape 
painter,  was  born  on  February  13,  1798,  and  in  his 
early  days  was  apprenticed  to  John  Varley — that 
great  teacher  and  master  of  English  water-colour 
art  who  trained  and  influenced  so  many  famous 
pupils.   Ziegler  showed  first  at  the  Royal  Academy 
in  1814  ;  and  he  afterwards  continued  to  exhibit 
landscape   views   and    compositions,   introducing 
rustic  figures.     From  1828  he  was  for  many  yeare 
an  exhibitor  at  the  Institute  of  British  Artists,  and 
he  also   contributed   to   the    British    Institution. 
After  a  ])rominent  and  highly  successful  career, 
continuing  for  many  years,  this  painter  at  length 
found  "his  occupation  gone,"  owing  to  the  coming- 
in  of  photograjihy  ;  and  he  seems  to  have  quite 
shrunk  into  seclusion,  in  the  evening  of  his  days, 
in   disgust   at   this   new  enemy  of  art   that   had 
thrown  a  cloud  over  the  prospects  of  his  professional 
employment.     His   old   friends  and   patrons   had 
ceased  to  know  of  his  whereabouts,  or  even  that  he 
was  alive — this  shy  and  reticent  man,  who  was  so 
sensitive,  gentle,  and  deeply  spiritual-minded,  albeit 
dignified,  and  never  ill  at  ease  in  the  courtly  society 
of  his  patrons.     It  was  at  this  time  that  he  resided 
in  apartments  in  Hunter  Street,  Brunswick  Square, 
never  havingresided  permanently  at  Ludlow,  though 
his  death  occurred  there  suddenly,  while  on  a  visit 
to  some  relatives,  in  August  1874.     It  was  shortly 
before  this  period   of  his   life  that  Ziegler  wrote 
down  some  interesting  particulars  of  his  art  career, 
which   one   of  his  patrons — Mrs.  Salway,  of  the 
Cliif,   Ludlow — has   kindly   furnished.     She    still 
owns  several  examples  of  his  work,  including  a 
large    portrait    of    Mr.    Humphrey    S.dway,   and 
numerous  views  in  the  neighbourhood  of  Ludlow, 
which   were   purchased    by   her,   both    from    the 
artist  himself,  and  subsequently  from  his  daughter. 
In  these  autobiographical  notes,  Ziegler  says  that 
he  commenced  his  career  as  a  portrait  painter  at 
the  age  of  eighteen,  after  a  course  of  study,  for 
about  four  years,  at  the  Royal  Academy  Schools. 
In  1825  his  works  were  noticed  by  Lord  Bloom- 
field,  who  introduced  him  to  some  personal  friends, 
including  the  Hon.  Miss  Caroline  Boyle,  maid  of 
honour  to  Q  leen  Adelaide  ;  and  that  tiie  Queen 
appointed   him   professor   of  drawing  to  H.R.H. 
Prince  George  of  Cambridge,   and  that   he   also 
yave  lessons  to  Prince  Edward  of  Saxe- Weimar. 
Her  Majesty   also  took  lessons  herself;    and   he 
made  many  pictures  of  subjects  selected  by  her  at 
Windsor,  Virgiida  Water,  Bushey   Park,  and   of 
interiors  at  Marlborough  House.     Ziegler  was  em- 
ployed by  Queen  Adelaide  for  nearly  eight  years  ; 
a!ul,   in    addition   to   giving   lessons    to    H.R.H. 
Princess  Elizabeth,  he  at  that  time  enjoyed  the 
patronage  of  the  Duchess  of  Norfolk,  the  Duchess 
of  Northumberland,   the    Marchioness   of    West- 
minster,  and    the   Marchioness   of    Exeter — who 
ordered  seven  pictures  to  commemorate  the  visit 
of  the   Queen   to   Burghley.     He  also  painted    a 
picture  of  Burghley  House,  by  connnand  of  Her 


PAINTERS  AND    ENGRAVERS. 


Majesty.  After  this  enumeration  of  all  his  sue-  I 
cesses,  the  painter  sadly  adds,  that  he  finds  himself 
now,  at  the  age  of  seventy-five,  without  any 
resources  to  fall  back  upon  in  his  declining  years. 
He  mentioned  to  this  lady — Mrs.  Salway — that 
he  first  knew  Shropshire  in  consequence  of  Mr. 
Andrew  Knight  employing  him  to  sketch  the 
scenery  around  his  residence,  Downton  Castle  ; 
and  that  it  was  then  that  he  met  his  future  wife  at 
Leintwardine — probably  this  would  be  in  the  early 
days  of  the  century,  when  he  was  quite  a  young 
man.  Later  on,  Zeigler  accompanied  the  Duke  of 
Rutland  to  Norway,  to  make  sketches  of  scenery  ; 
three  of  which  drawings  are  now  in  her  possession, 
one  of  them  being  '  A  Norwegian  Wedding,'  in 
water-colours. 

Ziegler  had  four  sons,  all  of  artistic  tastes,  the 
youngest,  like  himself,  being  an  B.A.  student. 
His  one  daughter,  still  living,  was  a  clever 
miniature  painter,  and  did  some  beautiful  work 
on  ivory.  Miss  Ziegler  records  that  her  fatlier's 
first  Royal  patron  was  King  WilUam  the  Fourth  ; 
and  that  the  King  gave  him  the  Home  Park 
Lodge,  at  Hampton  Wick,  as  a  temporary  resid- 
ence. Afterwards,  he  lived  at  Turnham  Green, 
and  had  a  studio  in  Wells  Street,  Oxford  Street, 
driving  to  and  fro.  Then  he  removed  to  Russell 
Place,  Fitzroy  Square,  and  that  was  his  London 
address  when  he  accompanied  thel'uke  of  Rutland, 
and  Lord  John  and  Lady  Adeliza  Manners,  in 
their  Norwegian  tour.  In  these  days  he  painted 
portraits  in  water-colour  of  many  of  the  nobility, 
including  Lord  Boyle,  Lord  Howe,  the  Duchess  of 
Cambridge,  Princess  Marj',  and  Prince  George. 
Miss  Ziegler  remembers  that  the  late  J.  D.  Wing- 
field  was  a  groom  in  her  father's  employ  at  that 
time,  the  youth  having  sliown  a  strong  natural 
talent  for  drawing  which  induced  his  master  to 
give  him  art  lessons,  which  enabled  him,  later  on, 
to  adopt  the  profession,  in  which  he  subsequently 
achieved  considerable  success.  A  very  interesting 
volume  of  sketches,  made  at  various  times  in  his 
rambles,  which  recently  came  under  the  notice  of 
the  present  writer,  evince  the  quick  eye  for 
character — particularly  in  old  buildings — which 
Ziegler  evidently  possessed.  In  a  few  free  but 
powerful  lines  he  seems  to  have  jotted-in  the 
main  features  of  his  subject ;  and,  in  some  in- 
stances, to  have  added  slight  washes  of  local 
colour  to  strengthen  the  impression.  Some  of 
these  fugitive  notes  have  great  charm  and  sug- 
gestiveness  ;  and  we  of  later  times  can  but 
lament  that  there  are  so  few  of  such  picturesque 
gleanings  left  to  be  picked  up  now-a-days  in  our 
modern  England.  H.  W. 

ZIEGLER,  JoHANN,  designer  and  engraver,  was 
born  at  Vienna  in  1750,  and  studied  at  the 
Academy  there.  In  conjunction  with  Karl  Schiitz 
he  brought  out  a  series  of  fifty  etched  and  coloured 
views  of  that  city  and  its  neighbourhood,  with 
figures  in  national  costumes.  He  also  produced  a 
series  of  similar  views  from  the  Austrian  provinces. 
He  died  at  Vienna  in  1812. 

ZIEGLER,  JoHANN  Christian,  landscape  painter, 
was  born  at  Wunsiedl  in  1803.  He  chiefly  painted 
forest  and  mountain  scenes.     He  died  in  1833. 

ZIESEL,  Georges  FRfep^Kir,  painter,  was  born  at 
Hoogstraeten,  near  Antwerp,  in  1756.  He  painted 
flower-pieces,  and  occasionally  miniatures,  brilliant 
in  colour  and  delicately  finished.  He  settled  at 
Antwerp  in  1770,  and  became  a  close  friend  of 
Pieter   Faes   and   of    Ommeganck.     He    died    at 


Antwerp  in  1809.  In  the  Antwerp  Museum  there 
ia  a  picture  of  flowers,  grapes,  and  gold-fish  on  a 
marble  table  by  him. 

ZIESENIS,  JoHAN  Georo,  was  bom  at  Copen- 
hagen in  1716.  He  studied  under  his  father,  an 
obscure  Danish  painter,  and  at  the  Diisseldorf 
Academy.  He  afterwards  became  court  painter 
to  the  Elector  of  Hanover.  He  died  at  Hanover 
in  1777.  He  worked  also  at  Berlin,  Brunswick, 
&c.,  and  in  1768  was  invited  to  the  Hague,  where 
he  joined  the  Pictura  Society,  and  painted  several 
portraits  of  the  Stadtholder  William  V.  and  of  his 
wife.  An  example  of  the  former  is  in  the  R. 
Museum,  at  Amsterdam. 

ZIFRONDI,  Antonio,  (or  Cifrondi,)  was  bom, 
according  to  Tassi,  at  Clusone,  in  the  Bergamese, 
in  1667.  After  being  taught  the  rudiments  of 
design,  he  went  to  Bologna,  where  he  entered  the 
school  of  Marc-Antonio  Franceschini,  and  became 
a  reputable  painter  of  history.  One  of  his  best 
works  is  an  '  Annunciation '  in  the  church  of  San 
Spirito  at  Clusone,  and  there  are  many  others  in 
the  churches  and  private  collections  there.  He 
worked  for  a  time  in  France,  with  little  success. 
He  died  in  1730. 

ZI6NANI,  Marco,  a  Florentine  engraver,  who 
died  in  1829.  He  was  a  pupil  of  R.  Morghen,  and 
engraved  many  plates  after  Italian  masters,  among 
the  best  an  '  Adoration  of  the  Shepherds,'  after 
Casolano,  and  an  '  Enthroned  Madonna,'  after  Bres- 
cianino. 

ZIJDERWELD,  Wii.lem,  a  Dutch  painter,  was 
born  at  Amsterdam  in  1796.  In  the  Haarlem 
Museum  there  is  a  picture  by  him  representing 
Jan  van  Oldenbamevelt  presenting  to  Arent  Meyn- 
dertsz  Fabricius  the  silver-gilt  cup  voted  to  the 
latter  by  the  States  of  Holland  for  his  services  at 
the  siege  of  Ostend.  Zijderweld  died  at  Amsterdam, 
24  December,  1846. 

ZIJL,  Geraerd  Pietersz  van,  (Ztl,  or  Zetl,) 
called  Gerards,  and  Gherard  van  Leyden,  was 
born  in  Holland  in  1606.  He  distinguished  him- 
self as  a  portrait  painter,  and  visited  England 
in  that  capacity  about  the  year  1635,  when  Van 
Dyck  was  in  ftill  possession  of  the  public  favour. 
He  formed  an  intimate  acquaintance  with  that 
artist,  who  occasionally  employed  him  to  assist  in 
draperies  and  backgrounds.  He  also  painted  con- 
versations. By  the  frequent  opportunities  he  had 
of  profiting  by  the  example  and  instruction  of  Van 
Dyck,  he  became  a  successful  imitator  of  his  style; 
and  after  a  residence  of  a  few  years  in  London,  he 
returned  (1641)  to  Amsterdam,  where  he  met  with 
extensive  employment,  and  was  called  '  the  Little 
Van  Dyck.'  Like  that  master,  he  excelled  in  paint- 
ing hands,  and  his  colour  is  clean.  He  died  in 
1667.  The  '  Departure  of  the  Prodigal '  is  stated 
by  Houbraken  to  have  been  his  best  work.  The 
Copenhagen  Gallery  possesses  an  '  Assembly  of 
Ladies  and  Gentlemen  dancing  '  by  him. 

ZIJLVI^IjT,  Adam,  or  Anton,  van,  (Zylvelt, 
Sylvelt,  &c.,)  draughtsman  and  engraver,  was 
born  at  Amsterdam  about  the  year  1643.  He 
imitated  the  style  of  Jan  Visscher  with  some  suc- 
cess. He  engraved  a  set  of  plates  after  Johann 
Lingelbach,  representing  (seaports,  &c.  We  have 
also  several  portraits  by  him,  some  of  which  are 
original.     We  may  name  the  following: 

Dirk  Volkertsz  Cuerenhert,  Engraver. 
Etienae  le  Moine,  Doctor  in  Theology  at  Leyden. 
Christoph  Wittichius,  Professor  of  the  University  of 
Leyden. 

411 


A   BIOGRAPHICAL   DICTIONARY  OF 


Herman  "Witsius,  Professor  of  Theology  at  Franecker. 
Coruelis  Bosch. 

ZILOTTI,  DoMENico  Bernardo,  was  born  at 
Borso,  near  Bassano,  in  1730,  and  studied  at  Venice, 
where  he  afterwards  settled.  He  painted  land- 
scapes in  the  style  of  Francesco  Zuccarelli,  which 
are  not  without  merit.  There  are  several  etchings 
by  Zilotti,  some  original,  others  after  Siraonini, 
Marieschi,  and  others.     He  died  in  1780. 

ZIMBRECHT.     See  Simbrecht. 

ZIMMER,  Samuel,  draughtsman  and  painter, 
was  born  at  Hamburg  in  1761.  He  was  the  pupil 
successively  of  Koch,  Richard,  and  J.  J.  Tischhein  ; 
he  also  studied  law  at  Rostock  and  Gbttingen.  He 
produced  many  illustrations  of  natural  liistory,  and 
was  in  1790  appointed  drawing  master  to  Gbttingen 
University.     He  died  in  1818. 

ZIMMERMAN,  Clemens  von,  historical  painter, 
was  born  at  Diisseldorf  in  1788  ;  he  studied  in  his 
native  town  under  Langer,  and  in  1808  he  accom- 
panied his  master  to  Munich,  where  he  entered 
the  Academy.  In  1815  he  went  to  Augsburg, 
where  he  was  appointed  professor  and  director  of 
the  school  of  art.  Ten  years  later  he  became 
professor  at  the  Munich  Academy.  He  assisted 
Cornelius  in  his  frescoes  at  the  Glyptothek,  and 
was  also  engaged  on  decorative  work  in  the 
colonnades  of  the  Hofgarten,  in  the  corridor  of  the 
Pinakothek,  and  in  the  dining-hall  of  the  Residenz. 
He  died  at  Munich  in  1869.  The  Pinakothek  con- 
tains two  of  his  pictures — '  Cimabue  finding  Giotto 
sketching  a  Lamb,'  and  '  Pilgrims  to  Loretto  from 
the  Roman  Carapagna.'  He  painted  a  large  num- 
ber of  portraits,  among  them  those  of  Queen 
Hortense  and  of  King  Max  I.  of  Bavaria,  and 
etched  and  lithographed  many  views  of  Rome. 

ZIMMER;\IANN,  Ernst  Karl  Georg,  German 
painter,  born  April  24th,  1852,  at  Munich  j  studied 
with  his  father,  and  subsequently  at  the  Munich 
Academy  under  Striihuher,  Anschiitz  and  Diez. 
He  travelled  for  purposes  of  study  in  Italy  and 
Belgium,  and  afterwards  settled  at  Munich,  where 
he  painted  conventional  historical  canvases  and 
'iundry  genre  pictures,  besides  portraits.  The 
Leipzig  Museum  has  his  '  Christus  Consolator,'  and 
his  'Music  Lesson  '  is  in  the  Dresden  Gallery.  In 
1883  he  obtained  a  Munich  second-class  medal, 
and  a  Berlin  medal  in  1886 ;  he  was  created  a 
member  of  the  Munich  Academj-.    He  died  in  1899. 

ZIMMERMANN,Friedrich,  a  German  engraver, 
was  born  at  Gordemitz,  near  Merseburg,  in  18"26. 
He  studied  at  the  Academies  of  Leipsic  and  Dresden, 
under  Sichling  and  Steinia,  but  finished  liis  training 
in  Paris  and  Munich.     He  died  in  1887. 

ZIMMERMANN,  Heinrich  Wilhelm,  portrait 
painter,  was  born  at  Dantzic  in  1805.  In  1828 
he  went  to  Vienna,  and  thence,  in  1835,  to  Paris, 
where  he  placed  himself  under  Delaroche.  While 
in  Paris  he  painted  his  '  Sabbath  Morning  in 
Styria,'  a  large  work  with  twenty-six  figures.  On 
his  return  to  Dantzic  he  practised  chiefly  as  a 
portrait  painter.     He  died  at  Dantzic  in  1841. 

ZIMMERMANN,  Joseph  Anton,  engraver,  was 
born  at  Augsburg  about  1705,  and  studie<l  at  the 
Munich  Academy  under  Storkel.  In  1753  he  was 
appointed  court  engraver  to  the  Elector.  He  died 
at  Munich  in  1796.  His  chief  work  was  a  series 
of  portraits  of  princes  and  princesses  from  originals 
in  the  various  Bavarian  castles. 

ZIMMERMANN,  Karl  Friedrich,  draughtsman 
and  painter,  was  born  at  Berlin  in  179,3,  and  studied 
under  Weitsch  and  Seliadow.     In  1814  he  fought 

412 


as  a  volunteer  in  the  French  campaign,  and  drew 
a  number  of  battle  scenes.  He  afterwards  painted 
in  oil,  choosing  both  domestic  and  military  scenes, 
and  architectural  subjects.  His  best  productions, 
however,  are  a  set  of  designs  in  illustration  of 
'  Faust,'  in  the  possession  of  Prince  Radziwill.  He 
was  drowned  in  the  Loisach,near  Wolferathshausen, 
in  1820. 

ZIMMERMANN,  Max,  (August  Maximilian,) 
]iainter  and  lithographer,  was  bom  at  Zittau,  in 
Saxony,  July  7,  1811.  His  father,  the  impresario 
Zimmermann,  brouglit  him  up  as  a  mu,sician,  but 
in  his  leisure  he  practised  lithography.  At  the 
age  of  twenty-three  he  abandoned  music  to  devote 
himself  entirely  to  lithography,  and  joining  his 
brother  Albert  in  Munich,  studied  drawing  under 
his  direction.  He  finally  took  to  landscape  paint- 
ing, which  he  practised  with  some  success.  His 
subjects  were  chiefly  forest  scenes,  studies  of  trees, 
and  the  like.  The  New  Pinakothek  at  Munich  has 
three  of  his  pictures.     He  died  at  Munich  in  1878. 

ZIMMERMANN,  Michael,  was,  according  to 
Papillon,  a  native  of  Vienna,  and  flourished  about 
the  year  1650.  He  is  said  to  have  engraved  a 
large  geographical  chart,  in  ten  parts,  of  Hun- 
gary, after  Wolfgang  Lazius,  Physician  and  His- 
toriographer to  the  Emperor  Ferdinand  I. 

ZIMMERMANN,  Richard  Augustus,  genre  and 
landscape  painter,  was  born  in  Zittau  in  1820.  He 
was  the  son  of  the  impresario  Zimmermann,  and 
his  three  brothers,  Albert,  Max,  and  Robert,  have 
all  been  well-known  painters.  He  was  a  pupil 
of  the  first,  and  in  1838  he  followed  him  to 
Munich,  devoting  himself,  in  opposition  to  his 
advice,  to  landscape  painting  instead  of  history. 
The  change,  however,  proved  successful,  and  his 
winter  landscapes,  forest  and  mountain  views, 
village  sketches,  and  sea  pieces  became  popular. 
In  his  later  period  he  adopted  the  style  of  Berchem. 
He  retired  for  a  time  to  Prague,  where  he  worked 
for  a  goldsmith.  He  died  after  a  short  illness  in 
1875.     Among  his  pictures  we  may  note: 

Potato  Harvest.    (iJ/«nicA,  Ketc  Pinakothek.) 

{Ami  three  others.) 
Moonlight  Night.     1862. 

Fishermen  on  the  coast  of  the  North  Sea.     1863. 
Sunset  in  Winter.     1863. 
Cows  and  Sheep  in  a  rocky  cleft. 

ZIMMERMANN,  RonEUT,  a  landscape  painter, 
was  born  at  Zittau  in  1816.  Among  his  pictures 
are  'The  Innthal,  near  Kufstein,'  and  a  'Water- 
fall,' both  dated  18G3.  He  died  at  Munich  in 
1864. 

ZIMMERMANN,  Wilhelm  Peter,  draughtsman 
and  etcher,  flourished  at  Augsburg  at  the  beginning 
of  the  17th  century.  He  also  published  a  number 
of  tolerable  engravings  of  costumes,  buildings, 
plans  of  fortifications,  &c. 

ZINCK,  Matheus,  a  German  engraver  of  the 
early  16th  century.  He  has  frequently  been  con- 
founded with  Martin  Zatzinger,  from  having  used 
tlie  same  cipher,  and  is  best  known  b}-  a  series  of 
the  '  Ars  Moriendi.'  Bartsch  was  the  first  to  point 
out  that  these  prints  were  certainly  not  the  work 
of  Martin  Zatzinger,  though  they  bore  the  letters 
M.  Z.,  and  Passavant,  agreeing,  identifies  their 
author  with  an  engraver  mentioned  by  JIurr,  in 
his  description  of  Nuremberg,  as  Maihes  Ziiick, 
Sculptor,  Noribergae.  The  whole  question  of 
these  various  identities  is,  however,  in  much 
confusion.  For  further  discussion  of  them  see 
Passavant,  vol.  ii.,  pp.  169-173,  and  Dr.  Willshire's 


PAINTERS   AND  ENGRAVERS. 


'  Catalogue  of  Early  Prints  in  the  British  Museum.' 
The  following  prints  in  the  British  Museum  are 
assigned  to  Zinck :  'The  Gentleman  Advancing,' 
and  a  series  of  eleven  engraved  copies  on  a  reduced 
scale  of  the  designs  in  the  famous  'block-book' 
of  the  Netherlands  (or  of  the  School  of  Cologne) 
known  as  the  '  Ars  Moriendi.' 

ZINCKE,  Christian  FRiEDRicn,  (or  Zink,)  a 
celebrated  painter  in  enamel,  was  the  son  of  a 
goldsmith,  and  was  born  about  168-t  at  Dresden. 
He  came  to  England  in  1706,  and  studied  under 
Boit,  whom  he  soon  surpassed.  He  was  patronized 
by  George  II.  and  other  members  of  the  royal 
family,  for  whom  he  executed  numerous  portraits, 
still  in  the  Royal  Collection.  Among  his  finest 
works  were  a  copy  of  Isaac  Oliver's  portrait  of 
Mary  Queen  of  Scots,  in  the  possession  of  Dr. 
Mead,  and  a  head  of  Cowley,  after  Lely,  which 
was  bought  by  Mr.  Holford  at  the  Strawberry  Hill 
sale,  in  1»^42.  Zinoko  was  appointed  cabinet  painter 
to  the  Prince  of  Wales,  and  was  generally  much 
employed ;  his  works  are  numerous,  but  many  are 
attributed  to  him  which  he  did  not  execute.  In 
1737  he  paid  a  visit  to  Germany  ;  and  after  his 
return  to  England,  finding  his  sight  injured  by  so 
much  application,  he,  in  1746,  retired  from  prac- 
tice. His  reputation,  however,  was  so  great,  that 
Madame  de  Pompadour  begged  him  to  copy  in 
enamel  a  portrait  of  the  King  of  France,  which  she 
forwarded  to  England  fur  the  purpose.  He  died  in 
South  Lambeth,  March  24,  1767. 

ZINCKE,  Padl  Christian,  younger  brother  of 
Christian  Friedrich  Zincke,  was  born  at  Dresden  in 
1684.  He  was  designed  for  a  gold.smith,  but  prac- 
tised etching  and  engraving  in  his  leisure  time, 
and  afterwards  attended  the  Academy.  He  then 
spent  some  time  with  his  brother  in  London, 
whence  he  proceeded  to  Vienna,  and  finally  to 
Leipsic,  where  about  17'21  he  founded  a  school  of 
design,  of  which  Boetius  wa.s  one  of  the  first  pupils. 
This,  however,  Zincke  soon  abandoned  to  engage 
in  business.  In  1756  he  lost  his  sight,  and  in 
1770  died  at  Leipsic. 

ZINCKE,  Paul  Francis,  known  by  the  nick- 
name of  'Old  Zincke,'  painter,  was  the  grandson 
of  Christian  Friedrich,  and  practised  in  London  as 
a  copyist.  He  sometimes  used  his  talents  in  ille- 
gitimate ways,  and  many  portraits  of  Sbakspeare, 
Milton,  and  Nell  Gwynn,  by  him,  were  sold  as 
originals  by  more  famous  men.  He  lived  in  a 
miserable  manner  in  Windmill  Street,  Haymarket, 
and  there  he  died  in  1830,  at  a  great  age. 
ZING  Alto,  Ii,  GiovANE.  See  Negrone. 
ZINGARO,  Lo.  See  Solario. 
ZINGER,  Hans,  painter,  born  at  Zinger  in  Hesse, 
flourished  at  Antwerp  in  the  16th  century.  In 
1543  he  was  made  free  of  the  Antwerp  Guild  of 
St.  Luke.  He  engraved  on  wood,  and  worked  as 
a  decorative  designer.  He  was  called  '  derdeutsche 
Hans.' 

ZINGG,  Adrian,  (or  Zing,)  engraver,  was  born 
at  St.  Gall,  in  Switzerland,  in  1734,  and  was  taught 
engraving  by  Johann  Rudolf  Holzbach,  of  Zurich, 
and  by  Aberli,  with  whom  he  remained  two  years. 
He  next  visited  Paris,  where  he  worked  for  seven 
years  under  Johann  Georg  Wille,  by  which  his  style 
was  greatly  improved.  In  1766  he  was  invited 
by  the  Elector  of  Saxony  to  Dresden,  where  he 
was  appointed  engraver  to  the  court,  and  became 
a  member  of  the  Academy.  He  died  in  1816.  We 
have  a  variety  of  landscapes  and  views  by  Zingg, 
among  them  the  following : 


Two  Marine  Views ;  after  Yer net  ;  one  entitled  La  Peche 
heureuse  ;  the  other,  V Ecu.nl  dang ereux. 

A  Landscape,  with  Nymphs  bathing  ;  after  Dietrich. 

A  Moonlight  piece  ;  after  A.  van  der  Neer. 

Two  Views  on  the  Ma'ia  ;  after  C.  G.  Schut:. 

A  pair,  representing  the  Port  and  the  Gulf  of  Naples  ; 
after  P.  Mettay. 

ZINK.     See  Zincke. 

ZIPELIUS,  Emile,  painter,  was  born  at  Muhl- 
hausen,  June  30,  1840,  and  was  a  pupil  of  Cogniet 
and  B^n^dict  Masson.  He  exhibited  a  few  religious 
pictures  and  portraits  at  the  Salon  from  1861  to 
1865,  in  which  latter  year  he  was  drowned  while 
bathing  in  the  Moselle,  near  Nancy. 

ZIX,  Benjamin,  a  French  painter,  who  flonrished 
at  the  beginning  of  the  19th  century.  At  the  Salon 
of  1810  the  following  by  him  were  exhibited  ; 

View  of  the  Castle  of  Schonbrunn,  with  the  Emperor 

Napoleon  reviewing  his  Troops. 
The  Last  Moments  of  the  Marshal  Due  de  Montebello. 
The  Eutry  of  Napoleon  into  Bordeaux. 
The  Entry  of  Napoleon  into  Toulouse. 

There  are  ten  drawings  by  Zix  in  the  Louvre. 

ZO,  Jean  Baptiste  Achille,  French  painter, 
born  at  Bayonne,  July  30th,  1826;  studied  under 
Couture  ;  was  appointed  Director  of  the  Bordeaux 
Museum  ;  painted  historical  subjects  and  genre  as 
well  as  portraits.  Of  his  works  we  may  mention  : 
'  Blind  Man  at  Toledo,'  which  at  one  time  was  in 
the  Luxembourg,  '  Plaza  San  Francisco,  Seville  ' 
(in  the  Marseilles  Museum),  '  Posada  at  Cordova,' 
&c.  He  obtained  a  medal  in  1868,  and  the  Cross 
of  the  Legion  of  Honour.  He  died  at  Bordeaux, 
March  2nd,  1901. 

ZOAGLI,  Erasmo  da.     See  Piagoia. 

ZOAN  ANDREA.  See  Andrea,  Zoan  and 
Vavas^iiri. 

ZOBEL,  George  J.,  an  English  engraver  in 
the  mixed  method,  was  born  about  1810.  He 
contributed  thirty-eight  proofs  altogether  to  the 
exhibitions  of  the  Royal  Academy  and  Society  of 
British  Artists  between  1834  and  1874.  His  death 
took  place  in  1881.     His  chief  jilates  were: 

Mrs.  Payne  Gallway  and  child  ;  after  Sir  J.  Reynolds. 

Dr.  Johnson  as  au  iufant.     (/-^o.) 

Home  from  the  Fair ;  after  Rosa  Bonheur. 

Still  for  a  Moment ;  after  Sir  J.  Ilillais. 

The  White  Cockade.     (Do.) 

Can't  you  talk  ?  after  G.  A.  Holmes. 

ZOBOLI,  jACoro,  was  born  at  Modena  about  the 
year  1700.  He  was  first  a  pupil  of  Francesco 
Stringa,  but  afterwards  studied  at  Bologna.  He 
went  to  Rome,  where  he  died  about  1765.  He 
painted  altar-pieces  and  portraits,  and  is  said 
to  have  etched  fifteen  plates  dealing  with  '  The 
Exploits  of  Alois  Gonzaga  and  Stanislaus  Koska.' 

ZOCCHI,  Giuseppe,  was  born  in  Tuscany  about 
1711.  He  was  chiefly  employed  in  decorating 
palaces  in  Florence  and  its  vicinity,  especially  the 
Palazzi  Serristori,  Rinucoini,  and  Gerini.  The 
Gerini  family  furnished  him  with  the  means  of 
studying  in  Florence,  Rome,  Bologna,  and  the 
Lombard  towns.  He  made  drawings  of  the  more 
remarkable  views  in  Florence  and  the  neighbour- 
hood, which  were  engraved  and  published  in  sets. 
He  etched  the  figures  himself,  and  also  two  entire 
plates  of  the  last  set.  He  engraved  several  plates 
after  Guido,  Simone  da  Pesaro,  Pietro  da  Cortona, 
Soliraena,  and  others.    He  died  at  Florence  in  1767. 

ZOEST.     See  Soest. 

ZOFFANY,  Johann.     See  Zauffely. 

ZOLA,  Giuseppe,  landscape  painter,  was  born  at 

413 


A    BIOGRAPHICAL   DICTIONARY   OF 


Brescift  in  1675,  and  was  a  pupil  of  Tortelli.  He 
resided  the  greater  part  of  his  life  at  Ferrara,  where 
his  landscapes  with  email  figures  were  in  great 
request.  He  usually  introduced  sacred  subjects 
into  his  pictures.  One  of  his  best  productions  is 
in  the  church  of  San  Lionardo,  at  Ferrara ;  others 
are  in  the  Pinacoteca,  the  Costabili  Gallery,  and 
the  Monte  di  Pieti.     He  died  in  1743. 

ZOLL,  Franz  Joseph,  was  born  at  M6hringen,in 
Baden,  in  1772,  and  was  iirst  instructed  by  his 
father,  a  sculptor  and  painter.  In  his  fourteenth 
year  lie  went  to  Trostenberg  in  Bavaria,  to  an 
uncle  who  was  a  fresco  painter,  and  then  spent 
two  years  at  Munich,  studying  under  Dorner  and 
Hauber  at  the  Academy.  He  visited  Paris,  Vienna, 
and  Rome.  In  1821  he  became  professor  of  design 
at  Freiburg  University,  and  in  182.S  director  of  the 
Mannheim  Gallery.  He  died  in  1833.  A  '  Hercules 
and  Hebe'  by  him  is  in  the  Carlsruhe  Gallery,  and 
a  '  Resurrection '  in  the  church  of  his  birthplace. 
His  early  works  were  chiefly  portraits. 

ZOLLER,  Franz,  draughtsman  and  etcher,  was 
bom  at  Klagenfurth  about  1748,  and  was  instructed 
first  by  his  father,  Anton  Zoller,  a  painter,  and 
afterwards  under  J.  Schmutzer.  His  chief  plate  is 
an  etched  and  coloured  View  of  Vienna,  dated 
1785.  He  published  a  topographical  dictionary  of 
the  Tyrol.     He  died  at  Innspruck  in  1829. 

ZOLLNER,  LuDWiQ,  lithographer,  born  at 
Oschatz  in  1798,  began  his  career  as  a  merchant, 
and  took  up  drawing  as  a  pastime.  He  went  to 
Paris  to  study  lithography,  to  which  he  entirely 
devoted  himself  on  his  return  to  Germany.  He 
lithographed  many  portraits  of  distinguished  per- 
sons after  Vogel  von  Vogelstein,  and  many  plates 
after  Horace  Vernet,  C.  Ruthart,  K.  Schroder,  and 
others.  He  sometimes  worked  in  conjunction  with 
Grvinewald. 

ZOMPINI,  Gaetano,  a  Venetian  painter  and  en- 
graver, born  about  1702,  was  a  pupil  of  Niccol6 
Bambini,  and  an  imitator  of  Ricci.  He  worked 
much  on  commission  for  the  Spanish  Court,  and 
died  in  1778. 
ZOOLEMAKER.  See  Solemacker. 
ZOON.  See  Son. 
ZOPPA,  ViNCENZO.  See  Foppa. 
ZOPPO,  II.  See  Micone,  Nicolas. 
ZOPPO,  Marco,  of  Bologna,  bom  first  half  of 
16th  century,  died  after  1498.  He  was  formerly 
believed  to  have  been  a  pupil  of  Squarcione  on 
account  of  two  pictures  signed  "Zoppo  di  Squar- 
cione" in  the  collections  respectively  of  Lord 
Wimborne  (formerly  in  the  Manfrin  Gallery,  Venice) 
and  of  King  Charles  of  Roumania  (formerly  be- 
longing to  Prince  Napoleon).  These  works  are, 
however,  far  more  closely  connected  with  Gregorio 
Schiavone,  and  if  not  by  him  must  be  by  some 
other  hitherto  unknown  painter  called  Zoppo  who 
was  intimately  associated  with  Gregorio  at  Padua, 
but  is  certainly  not  Marco  Zoppo  of  Bolognn.  This 
last-named  painter  must  also  have  studied  at 
Padua,  but  probably  under  Mantegna,  and  here  he 
was  powerfully  affected  by  the  works  of  Donatello. 
He  worked  much  at  Venice,  and  an  altar-piece 
which  he  painted  there  in  1471  (now  at  Berlin), 
in  addition  to  its  Paduan  features  shows  a  con- 
nection with  the  Bellini.  Other  works  by  him 
prove  that  he  was  at  times  affected  by  painters  of 
the  school  of  Ferrara,  more  especially  Cosimo 
Tura,  the  great  founder  of  that  school.  He  had 
no  share  in  the  decoration  of  the  Eremitani  Chapel 
at  Padua,  or  of  the  Schifanoia  Palace  at  Ferrara, 
414 


Pesaro. 

Richmond 
Venice. 


as  formerly  assumed,  nor  was  he  the  master  of 
Francesco   Francia  as  stated  by  local  historiana 
Among  his  principal  works  are  the  following : 
Berlin.  Gullery.    Madonna  with    Saints,  signed 

"Marco  Zoppo  da  Bolognia 
pinsit  1471  in  Vinexia.'' 
{Mentioned  by  Vasari  as  in  S. 
Giov.  Evangelista  at  Pesaro. 
Parts  of  the  predella  were 
formerly  in  a  private  collec- 
tion at  Gubhio.) 
Bologna.  Gallery.     MadonnaandCliild  with  Saints. 

„  Collegia  de^  \  Madonna    and    Saints,  signed 

Spaynuoli.  j      "  Zoppo  da  Bolognia."  {Early 
Altar-piece    in    twenty-three 
divisions.) 
Brunswick.  Vieweg  Coll.     The  Rosiirrtotion. 
London.  Nat.  Gall.     Dead    Clirist    with    St.    John 

Baptist  and  another  Saint. 
Milan.       Frizzoni  Coll.     St.  Jerome,  signed. 
Oxford.  University  )  c,    t,     , 

PietA,  Head  of  St.  John  Bap- 
tist, and  other  works. 
•$■?>  i*'rfr/fc.  ■)  Madonna    and     Child,    signed 

Cnok,\      "Zoppo da  Bologna." 
A  cadi  my.     Triumphal    Arch     of     Niccolo 
Tron.       {Formerly     in     tht 
Ducal  Palace.) 
Vienna.  Gallery.     Dead  Christ  with  two  Angels. 

Malvasia  states  that  Marco  Zoppo  decorated 
numerous  house  fagades  at  Bologna,  and  he  men- 
tions many  works  by  him  in  private  collections  in 
that  city,  and  an  altar-piece  of  1498  ;  another  of 
1468  is  said  to  have  been  in  S.  Giustiua  at  Padua, 
but  all  these  works  have  disappeared.        C.  J.  Ff. 

ZOPPO,  Paolo,  is  considered  by  Fenaroli  and 
otliers  to  have  been  a  Brescian,  but  Padre  Calvi 
and  writers  of  Bergamo  believe  him  to  have  been 
a  member  of  an  old  Bergamasque  family,  though 
he  lived  principally  at  Brescia.  The  dates  of  his 
birth  and  death  are  unknown,  but  he  appears  to 
have  flourished  between  1492  and  1530.  In  1505 
he  is  known  to  have  visited  Giovanni  Bellini, 
whose  intimate  friend  he  was,  at  Venice,  being 
the  bearer  with  Pietro  Bembo  of  a  message  to  that 
painter  from  Isabella  d'Este,  Marchioness  of 
Mantua.  He  appears  to  have  been  principally  a 
miniaturist,  and  is  said  to  have  painted  many 
missals,  his  last  work  having  been  the  decoration 
of  a  crystal  bowl  for  the  Doge  Andrea  Gritti  (in 
oflice  1523-1538).  Paolo,  it  is  said,  was  engaged 
upon  this  work  for  the  space  of  two  years,  and 
had  depicted  upon  it  episodes  from  the  siege  of 
Brescia,  with  admirable  portraits  of  Gaston  de 
Foix  and  other  great  soldiers  ;  in  conveying  it  to 
Venice,  however,  he  had  the  misfortune  to  let  it 
fall,  and,  according  to  tradition,  the  destruction  of 
this  his  masterpiece  so  deeply  affected  him  that 
he  died  in  consequence  at  Desenzano  on  the  Lake 
of  Garda.  Ottaviano  Rossi,  the  Brescian  writer, 
states  that  though  better  known  as  a  miniaturist,  he 
also  executed  pictures  and  frescoes,  and  numerous 
paintings  in  the  churches  and  galleries  of  Brescia 
have  been  attributed  to  him  by  late  writers, 
though  none  can  be  identified  with  certainty  as 
his  work.  He  has  been  confounded  with  Paolo 
Caylina  the  younger  (see  that  painter),  the  col- 
league and  assistant  of  Ferramola,  owing  to  the 
misinterpretation  of  a  passage  in  the  Diary  of 
Pandolfo  Nassino,  and  of  other  entries  in  the 
Brescian  archives.  C.  J.  Ff. 

ZOPPO,  Rocco,  a  relative  of  Marco  Zoppo,  and 
a  pupil  of  Perugino,  painted  in  the  16th  century. 
An   'Adoration  of  the  Shepherds'  in  the   Berhn 


MARCO  ZOPPO 


Harifstangl  phoio] 


\Berlin  Gallery 


THE  MADONNA  AND  CHILH  WITH  SAINTS 


MARCO  ZOPPO 


Woodbury  Co.  plwto] 


THE  DEAD  CHRIST 


^Widonal  ('id/kry 


PAINTERS  AND   ENGRAVERS. 


Museum  was  formerly  ascribed  to  bim  on  the 
evidence  of  a  cartellino.  The  signature  is  now 
quite  illegible,  and  the  compilers  of  the  new  cata- 
logue, in  which  the  picture  is  entered  as  by  an 
unknown  master  of  the  Umbriaii  school,  doubt  the 
authenticity  of  the  cartellino. 
ZOPPO  Di  LUGANO,  Lo.  See  Discepoli. 
ZORG  (or  Zorgh).  See  SoRQH. 
ZOROASTRO,  a  pupil  of  Leonardo  da  Vinci, 
whose  correct  name  is  said  ('  Vasari,'  Ed.  Mil.  iv. 
p.  53)  to  have  been  Tommaso  di  Giovanni  Masini. 
He  is  also  said  to  have  been  a  grandson  of  Bernardo 
Rucellai,  a  kinsman  of  Lorenzo  de'  Medici,  and  to 
have  acquired  the  name  of  Zoroastro  through  dab- 
bling in  the  bhick  arts.  He  died  in  Rome,  and 
was  buried  in  S.  Agata. 

ZOTO,  Agnolo,  was  registered'  in  the  Paduan 
Guild  in  1469,  and  was  a  pupil  of  Squarcione.  He 
worked  at  the  Cappella  Gattamelata,  Padua,  in  1472, 
and  also  painted  some  Seasons  and  Zodiacal  Signs 
in  the  Salone. 
ZOUST,  Gkrard.  See  Soest. 
ZUBERBUHLER,  Fritz,  Swiss  painter,  born 
at  Loole  in  1822  ;  studied  at  the  £cole  des  Beaux 
Arts  in  Paris,  and  also  with  Grosclaude  and  Picot. 
He  settled  in  Paris  in  1850.  His  works  include: 
'  Kindheit  der  Bacchus,'  '  Po^sie,'  'Numa  Pompi- 
lius,'  and  many  portraits.  He  died  in  Paris, 
November  23,  1896. 

ZUBERLEIN,  Jacob,  (or  Zikberlein,)  was  a 
native  of  Tiibingen,  in  Germany,  and  flourished 
about  the  year  1590.  He  is  said  to  have  been  a 
painter,  but  is  known  rather  as  an  engraver  on 
wood.  He  executed  a  considerable  number  of  outs, 
among  them  the  frontispieces  to  the  '  Annals  of 
Crusius,'  printed  at  Frankfort  in  1595.  He  signed 
his  cuts  with  liis  monogram^  and  often  with  a 
small  tub,  in  allusion  to  his  name. 

ZUBOZ,  Alexis,  a  mezzotint  engraver,  lived  in 
the  first  half  of  the  18tli  century.  He  was  a 
scholar  of  B.  Picart,  but  went  to  Russia,  and 
practised  at  St.  Petersburg.  He  engraved  a  series 
of  the  Emperors  of  Russia  ;  to  tlie  portrait  of  Peter 
the  Great  he  put  his  name  with  the  date  1729. 
His  name  is  also  found  on  the  portraits  of  Anne 
Petrowna  and  Catharine  Alexowna. 
ZUCCA.  See  Dei,  ZucrA. 
ZUCCARELLI,  Francesco,  (or  Zuccherelli,) 
was  born  at  Pitigliano,  in  Tuscany,  about  1702.  He 
was  first  a  scholar  of  Paolo  Anesi,  at  Florence,  but 
he  afterwards  studied  successively  under  Giovanni 
Maria  Morandi  and  Pietro  Nelli,  at  Rome.  For  some 
time  he  applied  himself  to  historical  painting,  but 
he  afterwards  confined  himself  to  decorative  land- 
scapes with  small  figures,  in  which  he  acquired 
a  style,  which  became  popular  throughout  Europe. 
He  settled  for  a  time  at  Venice,  where  the  British 
Consul,  Smith,  patronized  him,  and  recommended 
him  to  visit  England.  Accordingly  he  passed 
through  Germany,  Holland,  and  France,  and  came 
on  to  this  country,  where  he  remained  for  five 
years.  He  returned  to  Venice,  but  was  soon  in- 
duced to  come  a  second  time  to  England.  This 
second  stay  extended  from  1752  to  1773,  and  in 
the  course  of  it  he  became  one  of  the  foundation 
members  of  the  Royal  Academy.  Ho  had  already 
belonged  to  tlie  Incorporated  Society  of  Artists, 
and  was  largely  employed  for  persons  of  dis- 
tinction. Many  of  his  pictures  were  engraved 
by  Vivares,  Byrne,  Woollett,  Bartolozzi,  and  others. 
In  1773  he  returned  to  Italy,  and  settled  at 
Florence,  where  he  invested   his    savings   in  the 


securities  of  a  monastery,  soon  afterwards  sup- 
pressed by  the  Emperor  Joseph  II.  By  this  he 
was  reduced  to  indigence,  and  was  obliged  to 
resume  work.  He  died  at  Florence  in  1788.  His 
paintings  are  numerous  in  England.  There  is  a 
room  full  of  them  in  Windsor  Castle,  and  five 
hang  in  the  Glasgow  Gallery.  There  are  many  in 
Venice,  in  the  Louvre,  the  Hermitage,  at  Gotha, 
and  at  Vienna.  In  the  early  part  of  his  life  Zuc- 
carelli  amused  himself  with  the  point ;  among 
others,  we  have  the  following  etchings  by  him  : 

A  set  of  various  studies;  from  the  designs  of  A.  del 

Sartn. 
The  Virgiu  and  Infant  Christ,  with  St.  John  and  St. 

Anne  ;  after  the  same. 
The  AYise  and  the  Foolish  Virgins  ;  after  Giov.  Meno:zi. 

ZUCCARO,  Federigo,  (Zucchero,  or  SDCAitns,) 
the  younger  brother  of  Taddeo  Zuccaro,  was  born 
at  St.  Angolo  in  Vado,  in  1543,  (or  1542,)  and  was 
placed  under  the  tuition  of  his  brotlier  at  Rome 
when  seven  years  old.  In  a  few  years  he  was  suf- 
ficiently advanced  to  be  able  to  assist  Taddeo,  and 
was  employed  by  Pope  Pius  IV.,  in  conjunction 
with  Barocci,  in  the  Belvedere,  where  he  painted 
'The  History  of  Moses  and  Pharaoh,' 'The  Marriage 
of  Cana,'  and  'Tlie  Transfiguration.'  These  works 
gained  him  credit ;  and  Taddeo  furnished  liim  with 
further  opportunities  of  distinction  by  making  him 
his  coadjutor  in  the  Vatican,  and  in  the  Villa  Farnese, 
at  Caprarola.  He  was  invited  to  Florence  by  the 
Grand  Duke,  to  finish  the  cupola  of  Santa  Maria 
dei  Fieri,  which  had  been  left  imperfect  by  Giorgio 
Vasari.  On  the  death  of  Taddeo,  in  1566,  Gregory 
XIII.  engaged  Federigo  to  paint  the  vault  of  the 
Capella  Paolina,  but  quarrelling  with  some  of  the 
Pope's  officers,  the  painter  took  refuge  in  France, 
where  he  was  for  a  time  iu  the  service  of  the 
Cardinal  of  Lorraine.  From  France  he  went  to 
Antwerp,  where  he  painted  several  cartoons  for 
tapestry,  then  to  Amsterdam,  and  in  1574  to 
England.  Here  he  is  said  to  have  painted  the 
portrait  of  Queen  Elizabeth,  and  the  famous  one  in 
a  fancy  dress  at  Hampton  Court  used  to  be  assigned 
to  him.  It  is  also  affirmed  by  Lord  Orford,  that 
Mary  Queen  of  Scots  sat  to  him,  and  that  a  print 
was  engraved  by  Vertue  from  his  portrait  of  her. 
But  as  Mary  was  in  close  confinement,  Zuccaro's 
portrait  (now  at  Chatsworth)  was  painted,  most 
likely,  at  second-hand.  He  also  painted  Sir 
Nicholas  Bacon,  Lord  Nottingham,  Sir  Francis 
Walsingham  and  others.  Zuccaro  returned  to 
Italy,  and  resided  some  time  at  Venice,  where  he 
painted  for  the  patriarch  Grimani.  He  was  also 
employed  on  the  Hall  of  the  Grand  Council,  and 
knighted.  He  now  ventured  to  return  to  Rome, 
and  was  employed  to  finish  the  work  he  had  beguu 
in  the  Capella  Paolina.  About  1586  he  was  invited 
to  the  court  of  Madrid  by  Philip  II.,  who  employed 
him  to  paint  in  the  Escorial.  In  this  undertaking, 
however,  he  did  not  please  the  king,  and  after 
his  departure,  his  works  were  replaced  by  others 
from  the  brush  of  Pellegrino  Tibaldi.  On  his 
return  to  Rome  he  established  the  Academy  of  St. 
Luke,for  wliich  he  had  received  letters  patent  from 
Sixtus  v.,  and  of  which  he  became  the  first  presi- 
dent. At  his  death,  which  happened  at  Ancona 
in  1609,  he  bequeathed  all  his  property  to  the 
Academy.  In  his  last  years  he  wrote  '  L'idea  de' 
Scultori,  Pittori,  ed  Architetti '  (1607).  Among  his 
pictures  we  may  further  name  a  '  Dead  Christ  sur- 
rounded by  Angels,'  in  the  Palace  Borghese ;    a 

415 


A    BIOGRAPHICAL   DICTIONARY   OF 


'  Man  with  two  Doge,'  in  the  Pitti  Palace;  a  '  Ma- 
donna and  Child,  with  tlie  Infant  St.  Jolin,'  in  tlie 
Vienna  Galk-ry  ;  and  a  '  St.  James  of  Spain  and  St. 
Catlierine,'  in  the  Glasgow  Gallery. 

ZUCCARO,  Taddeo,  (or  Zucchero,)  was  born  at 
St.  Angelo  in  Vado,  in  the  duchy  of  Urbino,  in 
1529.  He  was  the  son  of  Ottaviano  Zuccaro,  a 
painter  of  little  talent,  by  whom  he  was  instructed 
ill  the  rudiments.  He  afterwards  worked  under 
Pompeo  da  Fano,  but  went  to  Rome  when  he  was 
only  fourteen  years  of  age.  After  many  hardships 
he  was  noticed  by  Daniello  di  Por,  a  painter  then 
in  some  estimation,  who  took  him  to  Vitto,  where, 
when  he  was  eighteen,  he  was  employed  to 
decorate  the  facade  of  the  Palazzo  Mattel  with 
emblematical  subjects  in  grisaille.  By  this,  his 
first  public  work,  he  attracted  notice,  and  was 
soon  afterwards  engaged  by  the  Duke  of  Urbino 
to  paint  a  series  of  frescoes  in  the  cathedral.  He 
also  worked  at  Pesaro,  and  returned  to  Rome  in 
the  time  of  Julius  III.,  when  he  was  employed  by 
that  pontiff  and  his  successor,  Paul  IV.,  in  the 
Vatican.  He  was  also  employed  by  Cardinal 
Farnese  to  decorate  his  villa  at  Caprarola.  Taddeo 
Zuccaro  died  at  Rome  in  156G,  in  the  thirty-seventh 
year  of  his  age,  worn  out  by  continual  exertion, 
and  by  some  disposition  to  excess.  He  was  buried 
in  the  Pantheon,  near  the  grave  of  Raphael,  and 
the  following  epitaph  was  afterwards  inscribed  on 
liis  tomb  by  his  brother  Federigo  :  ''Fredericus 
ma;rens  posuit  anno  1568,  moribus,  pictura,  Ra- 
phaeli  Urbinati  simillimo."     Pictures: 

Christ  in  the  Tomb.     [Rhcims  Cathedral.) 
Plana.     {Ufizi^  Florence.) 
The  Magdalene.     (Palace  Fitti,  Florence.) 
Portrait  of  a  lady  of  the  Eiccardi  Family.     {Glasgow 
Gallery.) 

ZUCCATI,  Seb.wtiano,  an  Italian  painter  of  the 
16th  century,  a  native  of  the  Valteline,  who  is  said 
to  have  given  his  first  lessons  in  drawing  to  Titian. 
His  two  sons,  Francesco  and  Valeric,  were  workers 
in  mosaic,  also  his  grandson  Arminio,  son  of  Valerio. 

ZUCCHERELLI,  Francesco.    See  Zcccarelli. 

ZUCCHERO.     See  Zuccaro. 

ZUCCHI,  Andrea,  painter  and  engraver,  was 
born  at  Venice  about  1675.  He  became  known 
as  a  successful  scene-painter,  and  in  1726  was 
invited  to  Dresden  in  that  capacity.  He  also 
engraved  some  of  the  plates  after  the  most  cele- 
brated paintings  at  Venice,  published  by  Lovisa. 
We  have  by  him  a  set  of  twelve  prints  of  Venetian 
costumes.  He  died  in  1740.  The  following  are 
among  his  best  works  : 

Tobit  and  the  Angel ;  after  Titian. 

St.  John  the  Evangelist ;  after  the  same. 

St.  John  the  Baptist ;  after  P.  T^eronese. 

The  Death  of  Paolo  Erizzo  ;  after  P.  Lonyhi. 

The  Birth  of  the  Virgin  ;  after  Niccolb  Bambini. 

The  Miracle  of  the  Mauua';  after  G.  Porta. 

The  Goddess  Cybele  in  a  Car,  drawn  by  Lions ;  after 

Tintoretto. 
Aurora  and  Tithonus  ;  after  the  same. 
.3!iieas  saving  Anchises  from  the  Burning  of  Troy  ;  after 

Seb.  Jiicci. 

ZUCCHI,  Antonio,  A.R.A.,  painter,  the  son  of 
Francesco  Zucchi,  was  born  at  Venice  in  1726  ;  he 
studied  architectural  drawing  and  perspective  with 
his  uncle  Carlo  Zucchi,  a  scene-painter,  and  his- 
torical painting  under  Fontebasso  and  Amigoni. 
Becoming  acquainted  with  the  Brothers  Adam,  ho 
travelled  with  them  through  Italy,  drawing  antique 
and  classic  buildings,  and  was  by  them  persuaded 
to  come   to   London,  where  he  was  employed   in 

416  ' 


decorating  some  of  their  finest  buildings.  He 
painted  ceilings  at  Osterley  Park,  Caen  Wood, 
Luton  House,  and  Buckingham  House  (since  pulled 
down).  He  was  elected  an  Associate  of  the  Royal 
Academy  in  1770,  and  exhibited  a  few  pictures  of 
ruined  temples  and  ancient  buildings.  He  married 
Angelica  Kauffmann  in  1781,  and,  returning  to 
Italy,  lived  with  her  in  Rome  until  his  death  in 
1795. 

ZUCCHI,  Francesco,  engraver,  was  born  at 
Venice  in  1698  (?).  He  was  the  son  of  Andrea 
Zucchi,  and  was  instructed  by  his  father.  He  was 
invited  to  Dresden,  to  engrave  some  plates  from 
the  pictures  in  the  Gallery.  He  died  in  1764. 
We  have,  among  others,  the  following  prints  by 
him  : 

The    Portrait    of    a    Spaniard ;   after   Rubens ;  in  the 

Dresden  Gallery. 
The  Portrait  of  a  Lady,  resembling  one  of  Rubens 's 

wives  ;  after  the  same  ;  in  the  same  collectioa. 
St.  Helena  worshipping  the  Cross ;  after  Giambettino 

Cignaroli. 
Two  Allegorical  Subjects ;  after  Antonio  Balestra. 

ZUCCHI,  Giuseppe,  engraver,  brother  of  An- 
tonio, practised  in  London  for  some  years,  and  is 
chiefly  known  in  this  country  by  his  engravings 
after  Angelica  Kauffmann. 

ZUCCHI,  Jacopo.    See  Del  Zucca. 

ZUCCHI,  Lorenzo,  was  the  younger  brother  of 
Francesco  Zucchi,  and  was  bom  at  Venice  in  1704. 
He  was  instructed  by  his  father, .Andrea  Zucchi. 
In  1738  he  was  appointed  engraver  to  the  Elector 
of  Saxony,  and  was  employed  to  execute  several 
plates  for  the  Dresden  Gallery  collection.  Zani 
saj's  he  died  in  1779  ;  Ticozzi,  in  1783.  The 
following  are  among  his  best  plates  : 

The  Seven  Sacraments  ;  after  Spagnoletto. 

The  Martyrdom  of  St.  Peter  and  St.  Paul ;  after  Nic. 

dell'  Abbate. 
The  Crowning  of  St.  Catharine  ;  after  Rubens. 
A  Sacrifice  to  Venus  ;  after  Ger.  Lairesse. 
The  Flaying  of  Marsyas;  after  Langhetti. 
Tlie  Tribute-JIoney  ;  after  Titian. 
David  with  the  Head  of  Goliath  ;  after  Luc.  Giordano, 

ZUCCO,  Francesco,  was  born  at  Bergamo, 
about  the  end  of  the  16th  century.  He  studied 
under  the  Campi  at  Cremona,  and  with  Pietro 
Moroni  at  Bergamo.  He  painted  history  and  por- 
traits, and  imitated  Paolo  Veronese  with  such 
success  that  his  works  have  often  passed  for  the 
productions  of  that  master.  A  '  Nativity,' and  an 
'  Adoration  of  the  Magi,'  in  the  church  of  San 
Gottardo,  at  Bergamo,  especially  recall  Cagliari. 
Zucco  died  in  1627. 

ZUCCOLI,  LuiGi,  an  Italian  subject  painter  of 
the  19th  century.  He  was  a  native  of  Milan,  and 
a  member  of  the  Academy  there.  His  works, 
which  were  chiefly  scenes  from  Italian  domestic 
life,  won  considerable  popularity  beyond  his 
native  country.  He  came  to  England  in  1860, 
and  lived  here  for  five  years  :  he  sent  a  scene 
from  the  Revolution  of  1848  at  Milan  to  the  1862 
Exhibition,  and  also  occasionally  exhibited  at  the 
Royal  Academy  between  1864  and  1871.  He 
died  at  Milan,  after  a  short  illness,  on  January  7, 
1876. 

ZUGNL  Francesco,  (or  Gidoni,)  was  born  at 
Brescia  about  1559,  and  was  a  scholar  of  Palma 
Giovine.  He  was  inferior  to  his  master  in  design, 
but  surpassed  him  in  impasto  and  colour.  He 
excelled  in  fresco,  and  frequently  painted  figures  in 
the  architectural  perspectives  of  T'ommaso  Sandrino. 


FEDERIGO  ZUCCARO 


Ha  iifsta  li^l  photvi 


[Chalsworik 


MARY  QUEEN  OF  SCOTS 


PAINTERS  AND   ENGRAVERS. 


One  of  Zugni's  best  pictures  is  '  The  Circumcision,' 
in  the  church  of  Santa  Maria  delle  Grazie,  at 
Venice.     He  died  in  1621. 

ZDMPE,  Johannes,  was  born  in  1819,  and  studied 
at  Leipsic  under  Hans  Veit  Schnorr,  under  Neher 
at  Stuttgart,  and  lastly  under  Juhus  Schnorr  at 
Dresden.  He  went  to  Italy  on  a  pension  from 
the  Dresden  Academy,  and  studied  the  works  of 
Cornelius.  He  died  at  Dresden  in  1864.  Among 
his  chief  productions  were  cartoons  for  the  windows 
in  the  abbey  church  at  Stuttgart,  a  drawing  of 
'Parnassus'  for  the  Leipsic  Art  Union,  and  the 
decorative  designs  for  the  Loggie  of  the  Dresden 
Gallery. 

ZUM   RING.     See  Ring. 

ZUNDT,  Matthias,  (or  Zynndt,)  an  engraver, 
was  bom  at  Nuremberg  in  liOS,  and  died  in  1586. 
He  worked  with  both  the  graver  and  point,  and 
produced  portraits,  Scripture  subjects,  allegories, 
and  crests.  BruUiot  mentions  an  etching  with  a 
mark  supposed  to  be  his  ;  it  represents  a  Vase 
with  figures  of  Tritons,  standing  on  sea-horses' 
feet,  and  surmounted  by  a  figure  of  Neptune. 
Bartsch  describes  these  three  prints  by  him : 

Portrait  of  Giovanni  de  Kaleta,  Graaid  Master  of  the 

Knights  of  Malta.     1566. 
Portrait  of  Louis  III.  de  Bourbon-Conde.     1568. 
View  of  the  city  of  Grodno,  in  Lithuania.     1563. 

ZUPPELLI,  Giovanni  Battista,  (or  Cappellini,) 
a  native  of  Cremona,  was  born  about  the  end  of 
the  15th  century.  He  painted  landscapes,  with 
subjects  from  sacred  history  inserted.  He  died  in 
1536. 

ZURBARAN,  Francisco,  was  baptized  on  No- 
vember 7,  1598,  which  was  probably  the  day  of 
his  birth.  His  father  was  a  husbandman,  and  in- 
tended to  bring  his  son  up  in  the  same  employment ; 
but  the  boy  showed  so  much  aptitude  for  painting 
that  he  was  released  from  the  plough,  and  placed 
under  the  tuition  of  Juan  de  Roelas.  Under  this 
master  he  soon  acquired  both  knowledge  and  reput- 
ation. Ho  determined  to  strictly  follow  nature,  and 
never  even  to  paint  a  piece  of  drapery  without 
the  object  before  him.  His  admiration  of  Cara- 
vaggio  led  him  to  imitate  that  master's  style,  and 
he  won  the  title  of  the  Spanish  Caravaggio.  In 
1625  he  was  employed  by  the  Marquis  of  Malazon  to 
paint  for  the  chapel  of  St.  Peter  in  Seville  cathedral. 
Nearly  at  the  same  period  he  produced  his  'St. 
Thomas  Aquinas '  for  the  collegiate  church  of  that 
saint  in  Seville.  This  is  one  of  the  finest  produc- 
tions of  the  Spanish  school.  He  next  painted  eleven 
scenes  from  the  life  of  St.  Jerome  for  the  Hierony- 
mite  Friars  at  Guadalupe,  and  a  few  altar-pieces. 
On  his  return  to  Seville,  he  painted  three  pictures 
for  the  Carthusians  of  Santa  Maria  de  las  Cuevas  ; 
in  1633  he  painted  several  fine  pictures  for  the 
Carthusians  of  Xeres,  on  one  of  which  he  inscribed 
his  name  as  painter  to  the  king  ;  an  honour  which 
he  shared  with  Velazquez.  It  does  not,  however, 
appear  that  he  was  employed  at  the  court  till 
about  1650,  when  he  was  employed  to  paint  the 
'  Labours  of  Hercules '  in  tlie  Buenretiro.  It  is 
said  that  Philip  IV.  often  visited  him  during  the 
progress  of  the  work,  and  that  one  day  he  expressed 
his  satisfaction  by  laying  his  hand  on  the  painter's 
shoulder,  and  calling  him  "  painter  to  the  king, 
and  king  of  painters."  Zurbaran  died  at  Madrid, 
in  1662,  according  to  Palomino,  but  the  date  is 
uncertain.  Among  the  pupils  he  formed  were  the 
Palancos  and  Bernab^  de  Ayala.  A  list  of  his 
more   accessible   pictures   is   given   below.      The  ' 

VOL.  v.  E  E 


Louvre  formerly  contained  nearly  a  hundred 
pictures  by  Zurbaran,  most  of  them  belonging  to 
the  Spanish  Gallery  of  Louis  Philippe,  which  was 
dispersed  in  1853. 

Berlin.  Museum.    Christ  after  the  Scourging. 

„  „  S3.  Thomas  Aquinas  and  Bona- 

ventura. 
Cadiz.  Museum.     Saint  Bruno. 

Edinburgh.      J^Tat.  Gall.     The  Virgin  in  Glory. 
London.  IVat.  Gall.     A  Franciscan  Monk,  kneeling  in 

Prayer,  a  Skull  in  his  Hands. 
„        Stafford  House.    Virgin  and  Child,  with  Infant 
St.  John. 
Madrid.  Museum.     The  Vision  of  St.  Peter  Nolasco. 

„  „  The  Sleep  of  the  Child  Jesus. 

„  „  St.  Casilda. 

„  „  Ten  Pictures  of  the  Labours  of 

Hercules    {formerly    in    the 
'  Buenretiro  '). 
Munich.         Piiiakothek:     St.  Francis  of  Assisi. 
Paris.  Louvre.     St.  Peter  Nolasco  and  St.  Ray- 

mond of  Pegnafort. 
„  „         The  Funeral  of  a  Bishop. 

„  „        St.  Apollonia. 

Saragossa.        Cathedral.     Dead  Christ. 
Seville.  Museum.     Madonna  de  las  Cuevas. 

„  „  St.  Thomas  Aquinas,  and    the 

Four  Doctors  of  the  Church, 
with  Donors. 
{And  several  others.) 

ZUSTERMANS.     See  Sottermans. 

ZUSTRIS.     See  Sustris. 

ZUTMANN,  Lambert.  The  Zutmann  family 
came  from  Maastricht  to  Liege,  where  Lambert,  a 
sculptor,  acquired  celebrity  by  the  design  and 
execution  of  the  porch  of  the  cathedral  of  St. 
Lambert,  destroyed  by  the  French  in  179-.  He 
had  two  sons,  Lambert,  also  a  sculptor,  and  Henry, 
a  goldsmith,  author  of  the  magnificent  reliquary 
bust  of  St.  Lambert  in  the  cathedral  of  Liege,  the 
execution  of  which  occupied  him  during  six  years. 
Henry  had  three  sons,  Lambert,  the  eldest,architect, 
painter,  engraver  and  poet,  was  born  at  Li^ge  c. 
1510.  His  paintings  show  that  his  style  was 
influenced  by  Lambert  Lombard,  who  married  his 
sister.  He  resided  at  Rome  for  some  years,  and 
later  on,  in  1553-4,  at  Antwerp.  He  was  one  of 
nine  artists  who  in  1560  made  designs  for  the  new 
town  hall  at  Antwerp,  the  erection  of  which  was 
carried  out  by  Cornelius  Floris,  the  successful 
competitor.  In  1542  he  painted  an  altar-piece 
representing  Our  Lady  and  Child  crowned  by 
Angels  for  the  church  of  St.  Bartholomew  at  Li^ge; 
tliis  and  two  others  are  lost. 
Li^ge.         M.  J.  Holbig.    Tlie  Visit  of  the  three  Maries 

to  the  Sepulchre. 
Wiesbaden.         Museum.     The  Kai.sing  of   Lazarus  (en- 
graved by  him^  dated  1544). 

He  executed  121  engravings,  the  best  of  which 
represents  SS.  Peter  and  Paul  healing  the  lame 
man  at  the  Beautiful  Gate.  He  removed  to  Frank- 
fort in  1561,  and  died  there  in  1567. 

Authoritits :  Passavant,  '  Le  Peintre-Graveur' ; 
Renier,  '  L'ceu vre  de  Suavius' ;  Helbig, '  La  Peinture 
au  pays  de  Lidge.'  W.  H.  J.  W. 

ZWECKER,  Johann  Baptist,  painter,  was  born 
at  Frankfort-on-the-Maine,  in  1815.  He  studied  at 
Diisseldorf,  and  in  the  Art  School  at  Frankfort,  and 
painted  the  portraits  of  Henry  1.  and  Henry  VI. 
for  the  Kaisersaal,  in  his  native  town.  In  1870 
he  came  to  London,  and  practised  as  an  illustrator 
of  books.     He  died  in  London  in  1876. 

ZWENGAUER,  Anton,  landscape  painter,  was 
born  at  Munich,  October  11,  1810.  He  worked 
from  the  antique  under  Cornelius,  but  afterwards 

417 


PAINTERS   AND   ENGRAVERS. 


turned  his  attention  to  landscape,  taking  many  of 
his  snbjecta  from  the  Bavarian  HighlandB  and 
from  Soutliern  Tyrol.  In  1853  he  was  named  a 
conservator  of  the  Schleissheim  Gallery,  and  in 
1869  of  the  Munich  Pinakothek.  He  died  at 
Munich  in  1884.     His  chief  works  are  : 

Autumn    Laudscape,  with   a   Stag  in  the  foreground. 

1851.     (A'cw  Tinnkothek,  Mutiich.) 
Evening  on  tlie  Alj).     1850.     (Do.) 
Sun.set,  and  Stags  by  a  Lake.      (Leipsic  Jfiiseum.) 
Two    Eiver   Landscapes   at   Sunset.        (S.  Kensington 

Museum,  Toivnsliend  Bequest.) 

ZWIKOPF.     See  Zatzinger. 

ZWINGER,  GusTAV  Puilipp,  painter  and  etcher, 
was  born  at  Nuremberg  in  1779.  He  was  the  son 
and  pupil  of  the  painter  and  engraver  Siqmund 
ZwiNQER  (1744 — 1813),  now  chiefly  remembered 
as  a  teacher.  Gustav  completed  his  studies  under 
Fijger  in  Vienna,  and  returning  to  his  native  town, 
became  in  turn  professor  and  director  of  the  Art 
School.  He  was  also  known  as  an  historical 
painter,  both  in  oil  and  water-colour,  and  as  a 
designer  of  book  illustrations.  He  etched  a  few 
plates  and  tried  his  hand  at  lithography.  He  died 
at  Nuremberg  in  1819. 

ZWOLL,  ZWOLLE,  or  ZWOTT.  Great  un- 
certainty prevails  as  to  the  identity  of  the  master 
formerly  designated  by  this  name.  He  seems  to 
have  been  a  goldsmith  and  engraver,  flourishing 
at  the  close  of  the  15th  century.  Bartsch  calls 
him  the  'Maltre  h,  la  Navette,'  or  'Master  of  the 
Weaver's  Shuttle,'  and  gives  his  name  as  Zwott. 
Other  writers  have  entitled  him  J.  Ancker  von 
Zwoll.  But  the  cipher  with  which  the  prints 
ascribed  to  hira  are  marked  has  by  recent  experts 
been  declared  to  be,  not  a  shuttle,  but  a  goldsmith's 
scraper  or  burnisher,  and  the  word  Zluott.  gener- 
ally engraved  on  the  top  of  the  plates,  is  explained 
as  being  not  the  name  of  the  artist,  but  an  ab- 
breviation of  Zwollensis,  in  allusion  to  the  town 
where  he  resided,  namely  Zwoll,  or  Zwolle,  in 
the  province  of  Overyssel.  For  the  name  Ancker 
there  seem  to  have  been  no  reasonable  grounds, 
and  it  has  been  abandoned.  Passavant  and  other 
authorities  support  the  hypothesis  that  the  true 
name  of  the  master  was  Jouankes  db  Colonia,  or 
John  of  Cologne,  that  his  style  was  formed  by 
the  influences  of  the  school  of  Van  Eyck,  and  that 
he  is  to  be  identified  by  a  paragraph  in  a  book  of 
memoirs  of  the  fraternity  of  Agnetenburg  near 
Zwolle,  which  records  that  about  the  year  1478  '  a 
very  pious  young  man '  named  John  of  Cologne, 
who  was  both  painter  and  engraver,  was  living 
with  the  community,  having  joined  the  Brothers 
of  Common  Lot,  i.e.  the  lay  section  of  the  fraternity. 
The  supporters  of  this  theory  read  the  monogram 
I.  A.  M.,  which  usually  figures  alongside  of  the 
hieroglyph  above-mentioned,  Johannes  Aurifater 
Monachus,  and  we  have  thus  a  sufiBciently  probable 


solution  of  the  difBcuIty.  Nagier,  nowever,  points 
out  that  the  M.  could  not  stand  for  Monachus,  a.s  the 
lay  brethren  were  not  monks  ;  and,  secondly,  that 
certain  very  inferior  prints  of  the  late  15th  century 
exist  signed  I.  C,  and  marked  with  the  cipher  of 
a  shield  with  three  crowns,  the  badge  of  Cologne. 
Tills  signature,  he  contends,  is  a  much  more  pro- 
bable one  for  the  cloister-brother,  John  of  Cologne. 
Zani  and  Ottley,  again,  unable  to  harmonize  the 
various  discrepancies  in  connection  with  the  sub- 
ject, have  suggested  that  two  separate  masters  are 
responsible  for  the  prints  which  have  given  rise 
to  so  much  discussion.  Dr.  Willshire,  in  his 
'  Catalogue  of  German  and  Flemish  Prints  in  the 
British  Museum,'  has  adopted  the  views  of  Passa- 
vant ;  and  following  these  two  learned  authorities, 
we  subjoin  a  list  of  the  exceedingly  rare  works 
assigned  to  the  so-called  '  Master  of  the  Shuttle.' 
For  the  exhaustive  discussion  of  all  these  points, 
the  student  is  referred  to  Willsbire's  'Catalogue  of 
Flemish  and  German  Prints,'  vol.  ii.  pp.  322 — 364  ; 
Nagler's  '  Monogrammisten,'  vol.  iii.  pp.  741,  843  ; 
Ottley's  '  Inquiry  into  the  Origin  and  Early  History 
of  Engraving  upon  Copper  and  Wood,'  vol.  i.  p. 
107;  and  Passavant' s  '  Peintre  Graveur,'  vol.  ii. 
pp.  178 — 186.  Of  the  following  the  British  Museum 
possesses  impressions : 

The  Adoration  of  the  Kings. 

Tlie  Last  Supper. 

Christ  on  the  Mount  of  Olives. 

Christ  taken  in  the  Garden. 

Christ  Crucified  between  two  Thieves. 

The  Entombment  of  Christ  (a  Pieti). 

Tlie  Saviour  standing  holding  an   open   Book  in  one 

hand,  and  giving  benediction  with  the  other. 
The  Virgin  with  the  Infant,  who  is  turning  the  leaver 

of  a  Book. 
Virgin  witli  the  Child,  standing  on  a  Dragon. 
Virgin  and  Child  at  a  Window. 
St.  Gregory  celebrating  Mass. 

A  Skeleton  in  a  vaulted  Tomb  (an  allegory  of  Death). 
Three  Medallions  of  sacred  subjects  on  a  Plaque. 
A  Combat  with  a  Centaur. 
An  architectural  design  of  Gothic  character. 
A  '  Passion '  sequence  of  fifty-three  prints. 
The  Angehc  Salutation.  p,  s. 

Passavant  states  that  the  master  was  also  a 
painter,  and  gives  three  pictures  as  by  him  :  an 
'  Adoration  of  the  Kings,'  in  the  Berlin  Museum ; 
'  The  Israelites  gathering  Manna,'  at  Paris  ;  and 
a  '  Marriage  of  the  Virgin,'  at  Madrid. 

ZYDERWELD.     See  Zijdebweld. 

ZYL,  RoELOF  VAN,  member  of  Guild  at  Utrecht  in 
1611  and  1624. 

Utrecht.  Museum.    Shutters  of  Organ  from  Ohnrch 

of  St.  James. 

W.H.J.W. 

ZYLVELT,  Adam  van.    See  Zijlvelt. 
ZYMBRECHT.    See  Simbreoht. 


418 


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BREAD  STREET  HILL,  E.G.,  AND 

BnNliAV,    SUFFOLK. 


Reference